Translated Title: Od tłumacza do naśladowania. Author Name: Richard Jackson, University of Tennessee, USA, svobodni@aol.com. Language: English, Polish. Issue: 6 (1)/2015. Page Range: 13-27. Key words: Translation, Imitation, poetry, paraphrase, adaptation.

Abstract: Translation is not only an important way to learn the art of poetry, but also provides a way to understand other cultures. However, it is mostly misunderstood: some would desire a literal translation even if the spirit of the text is lost, others a loose version even if the meaning is lost. Everything we write is already a translation in that is made of words as opposed to the original experience, and every translation is then necessarily an interpretation. Literary translation involves trying to recreate the experience of the original, and this can be done in ways ranging from actual translation to imitation.

Translated Title: The echo of Adam Mickiewicz’s messianism in the work of Ivan Mažuranić. Author Name: Tea Rogić Musa, Leksikografski zavod Miroslav Krleža, Zagreb, Hrvatska, tea.rogic@izmk.hr. Language: Croatian, Polish. Issue: 6 (1)/2015. Page Range: 28-55. Ključne riječi: Ivan Mažuranić; Adam Mickiewicz; mesijanizam; Knjige poljskoga naroda i poljskoga hodočašća; ilirizam. Key words: Ivan Mažuranić; Adam Mickiewicz; messianism; The Books of the Polish People and of the Polish Pilgrimage; Croatian National Revival.

Sažetak: U radu se izlaže Mažuranićevo mladalačko bavljenje prevođenjem Adama Mickiewicza, što uključuje trojaku tematsku orijentaciju: najprije će se nastojati osvijetliti podrijetlo šest nepotpisanih prijevodnih fragmenata iz Mickiewiczeva djela Knjige poljskoga naroda i poljskoga hodočašća, tiskanih u »Danici« 1837., čije je autorstvo u literaturi bilo različito atribuirano. Mickiewiczevo je djelo imalo znatan odjek kod iliraca, a ti su ulomci najraniji prijevodi toga političkoga spisa među Južnim Slavenima. U prijevodu je riječ o proznim crticama koje su slobodna preradba izvornika, prilagođena hrvatskim prilikama, u cjelini vrlo uspjela, s vrsnim oponašanjem Mickiewiczeva biblijsko‑retoričkoga ritma. Pokušat će se dokumentirati Mažuranićevo poznavanje Mickiewiczeva djela i kroz možebitni izravan intertekstualni i književnopovijesno‑poetološki odnos između Mickiewiczeva političkoga spisa i Mažuranićeve brošure Hrvati Mađarom te zaključno elaborirati utjecaj poljskoga mesijanizma — u njegovoj inačici u Mickiewiczevu političkom spisu — na mladoga Mažuranića u ozračju preporodne Hrvatske.

Summary: This paper presents Mažuranić’s early translations of Adam Mickiewicz, including the threefold thematic orientation: first we try to shed some light on the origin of six unsigned translation fragments from Mickiewicz’s The Books of the Polish People and of the Polish Pilgrimage, printed in “Danica” in 1837, whose authorship has been attributed differently in literature. Mickiewicz’s work had a significant impact on the Illyrians, and those fragments were the earliest translations of that political work among the South Slavs. The translation consists of a series of prose notes that are a free rewriting of the original, adapted to Croatian circumstances, and very successful as a whole, with an excellent imitation of Mickiewicz’s biblical‑rhetorical rhythm. We will document Mažuranić’s familiarity with Mickiewicz’s work through a possible direct intertextual and literary historic‑poetological relationship between Mickiewicz’s political writings and Mažuranić’s brochure Croats and Hungarians and finally elaborate on the influence of Polish messianism — in its variant found in Mickiewicz’s political writings — on the young Mažuranić in the atmosphere of the Croatian National Revival.

Translated Title: On the Translation of a Title (basing on the Slovenian prose). Author Name: Monika Gawlak, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, 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: On co‑existential problemes: Textual and Cultural Perspectives on Translation. Author Name: Bożena Tokarz, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, tokarzbozena@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 73-89. Ključne besede: prevod, prevajalec, svoboda, odgovornost, besedilo. Key words: translation, translator, freedom, responsibility, text. 

Povzetek: Če je izvirno besedilo upoštevano kot razpoznavno znamenje določenega miselnega modela, tedaj preusmeritev pozornosti od smisla izvirnika k prevodu in ciljni kulturi ne pomeni nujno brisanja izvirnega besedila. V prevajalčevem duhu se srečuje dvoje različnih mentalnih območij. Njegova svoboda tako na konceptualni kot tudi jezikovno‑stilistični ravni je omejena z odgovornostjo do avtorja in naslovnika ter koncepcije besedila, kajti v prevodu prihaja do premikov v območju pomenotvornih dejavnikov, kar vodi k nastanku novega literarnega predmeta. Besedilna perspektiva je temelj vsakega prevoda; kaže na nejasnosti z vidika domače literaturę in kulture in izpostavlja potrebo po osvetlitvi kontekstnih pomenov, torej tistih, ki izhajajo iz medkulturnih razlik. Do soočenja dveh miselnih sfer namreč lahko pride zaradi razbiranja in razumevanja miselnih mehanizmov, vpisanih v besedilo. Slovnične kategorije, pojmi, stil in konvencije so pomensko, miselno, kulturno in antropološko zmeraj zaznamovani dejavniki.

Summary: The process of translation assumes the existence of two separate mental spaces merging in the translator’s mind, whose freedom is limited by the responsibility towards the author and the reader, on the one hand, and, on the other, the textual imperatives manifested at the conceptual, linguistic, and stylistic levels. The transformations of strategies generating meaning during the process of translation lead to the creation of a new literary subject. The shift from the meaning of the original to the translator and the target culture does not have to imply an erasure of the source as long as it is being interpreted as a manifestation of a specific mental space. The textual perspective constitutes the foundation of translation, inasmuch as it reveals ambiguities from the point of view of the target literature and culture, and points to the necessity to resolve contextualized meanings that represent cultural differences. The encounter between two mental spaces happens due to the interpretation of the mental mechanisms that are inscribed into the text. Grammatical structures, meaning, style and literary conventions are always determined by semantic, intellectual, cultural and anthropological factors.

Translated Title: The anagram reading and the problem of translation (struggles with a translation of the poem la folie de saussure by Krešimir Bagić). Author Name: Katarzyna Majdzik, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, katarzyna.majdzik@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 90-104. Ključne riječi: anagram, Ferdinand de Saussure, Julija Kristeva, Krešimir Bagić, nesvjesno. Key words: anagram, Ferdinand de Saussure, Julia Kristeva, Krešimir Bagić, unconsciousness.

Sažetak: Polazište za razradbu problema prijevoda predstavljenu u članku koncepcija je anagrama Ferdinanda de Saussurea. Anagrami su pojedini glasovi ili skupine glasova što se ponavljaju u književnom djelu, a od kojih se sastoji riječ ili riječi (ideje; teme) prisutne, no razmještene po tkivu teksta. Na taj se način konstruira implicitan, skriveni smisao književnog djela. Čitanje i interpretacija anagrama iz perspektive psihoanalize pruža mogućnost njihova razumijevanja kao izraza autorova nesvjesnog (Julija Kristeva). U članku se analiziraju prijevodi pjesama (npr. la folie de saussure K. Bagića) s obzirom na mogućnosti i ograničenja prijenosa skrivenog i dodanog smisla, što su rezultati prisutnosti anagrama u tekstu te zvučne organizacije književnog djela (npr. u slučaju pjesništva ruskih futurista i ideje zauma).

Summary: The starting point for the presented elaboration on translation is the concept of Ferdinand de Saussure’s anagrams. Anagrams consist of certain phoneme or group of phonemes repeated in the literary work. They form a certain word or words (idea, theme) which are scattered (disseminated) in the text. By reconstructing these words we are able to discover or (re)construct the implicit, hidden sense of the text. Reading and interpreting anagrams from the perspective of psychoanalysis enables one to consider them as an expression of the author’s unconsciousness (Julia Kristeva). In this paper the translation of the poems (la folie de saussure by K. Bagić) is analyzed taking into consideration the possibilities and limitations of the transfer of hidden and added senses that appears as a result of the anagram’s presence or the tonal organization of the literary text (e.g. in the case of the poetry of the Russian Futurists and the idea of zaum).

Translated Title: „Controlled freedom” — about the (in)dependence of a translator. A few comments about the Polish translation of Petra Hůlová’s Umělohmotný třípokoj. Author Name: Dorota Żygadło‑Czopnik, Uniwersytet Wrocławski, Instytut Filologii Słowiańskiej, zydlo1@wp.pl. Language: Polish. Issue: 6 (1)/2015. Page Range: 105-119. Klíčová slova: česká literatura, překlad, jazyk, interpretace, volnost. Key words: Czech literature, translation, language, interpretation, freedom.

Resumé: V roce 2002 se v České republice objevil zajímavý fenomén — neznámá dívka Petra Hůlová vydala knihu, která se stala největším literárním pozdvižením posledních let. Spisovatelčin debut Paměť mojí babičce získal cenu Magnesia Litera v kategorii Objev roku a zvítězil v anketě „Lidových novin” jako Kniha roku. Próza Umělohmotný třípokoj získala Cenu Jiřího Ortena. Hůlová získala v roce 2008 Cenu Josefa Škvoreckého za román Stanice Tajga. Spisovatelka je v každé knize jiná, což však neznamená, že by její tvorba neměla svůj osobitý styl. Dnes je zřejmě nejoceňovanější mladou autorkou. Upozornila na sebe jazykem, jenž je směsicí obecne češtiny a překvapivých přirovnání, ale ojedinělá je i fabulační odvahou. Kniha, která nás zajímá — Umělohmotný třípokoj — je čtvrtým románem mladé prozaičky. Polská překladatelka Julia Różewicz byla oceněna jako „Nová tvář” literárního měsíčníku „Literatura na Świecie” („Světová literatura”) za překlad této knihy Petry Hůlové (polsky Plastikowe M3, czyli czeska pornografia). Cílem této práce je analýza specifického autorského jazyka, který česká spisovatelka v knize vytvořila, a jeho následná konfrontace s jazykem, který pro jeho „českou mutaci“ zvolila překladatelka Julia Różewicz.

Summary: In 2002 in the Czech Republic a very interesting phenomenon occured — an unknown young woman named Petra Hůlová published a book, which caused the biggest literary stir of recent years. The writer’s debut Paměť mojí babičce received the Magnesia Litera Award in the Objev roku (Discovery of the Year) category and won the Lidove noviny’s poll as Kniha roku (Book of the Year). The prose of Umělohmotný třípokoj won the Jiry Orten Award. In 2008, Hulova was awarded with the Josef Škvorecký Award for the novel Stanice Tajga. In every book the writer seems different, which does not mean that she has no individual style. She is undoubtedly the most award‑winning young author today. She captured readers’ attention with the language used, which is a mixture of colloquial Czech and surprising similes. Quite unique is also the bravery of her storytelling. The book we are interested in, Umělohmotný třípokoj, is the fourth novel by the young writer. The Polish translator Julia Różewicz was awarded for the “New face” category of the literary magazine Literatura na Świecie for her translation of the Petra Hulova’s book (in Polish: Plastikowe M3, czyli czeska pornografia, Afera 2013). The goal of this study is to analyze the Czech author’s specific language and to later confront it with the language chosen for its “Czech mutation” by the translator, Julia Różewicz.

Translated Title: The image of a homeland in the Polish translations of Miloš Crnjanski’s poetry. Author Name: Małgorzata Filipek, Uniwersytet Wrocławski, Instytut Filologii Słowiańskiej, margo11@wp.pl. Language: Polish. Issue: 6 (1)/2015. Page Range: 120-132. Кључне речи: Песничко дело Милоша Црњанског, отаџбина, преводи, туђе особине. Key words: Miloš Crnjanski, poetry, homeland, translation, exotic.

Резиме: Преводи песама Милоша Црњанског били су објављивани у Пољској већ пре Другог светског рата. Сада пољски читаоци знају песме из збирке Лирика Итаке, као и три по‑ еме Стражилово, Сербиа и Ламент над Београдом. Лајт мотив ове поезије је повратак отаџбини (Лирика Итаке) и чежња за њом (поеме). Код Црњанског отаџбину симболишу углавном топоними, којих има већ у насловима поема, као и елементи српске традиције — нпр. асоцијације на народне песме и њихове јунаке, као што су Краљевић Марко, Милош Обилић и присуство православља (цркве, иконe). Асоциације на туђу културно‑језичку средину (Париз, Тоскана, Јан Мајен, Шпанија, Лисабон) перципиране су као туђе особине текста и од стране пољских и српских читалаца.

Summary: The translations of poems by M. Crnjanski were published in Poland before World War II. Currently, the Polish reader known the volume entitled Lyrics of Ithaca and three poems: Stražilovo, Serbia and Lament over Belgrade. The leitmotif of his poetry is the return to the homeland (Lyrics of Ithaca) and longing for it (poems). In Crnjanski’s poetry the homeland is symbolized by toponyms, whiche are already exhibited in the titles. They present some elements of tradition, e. g. a reference to folk songs (heroes: Prince Marko, Miloš Obilić) and Orthodox religion (churches, icons). The transfer of local names and some elements of foreign culture expose the exotic feature of this territory. It is an example of the cultural barrier and difficulties with understanding cultural context. The poetry by Crnjanski refers to a foreign space (Jan Mayen, Libon, Spain, Tuscany) which is exotic, not only for the Polish reader, but also for readers of the original texts.

Translated Title: The role of translator’s erudition and sensory cognizance in the process of translation. Author Name: Anna Muszyńska‑Vizintin, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, melvien@poczta.fm. Language: Polish. Issue: 6 (1)/2015. Page Range: 133-148. Ključne besede: mimetična književnost (mimesis), znanje prevajalca, senzorično zaznavanje, ekphrasis, esej o umetnosti. Key words: mimetic literature (mimesis), translator’s erudition, sensory cognizance, ekphrasis, essay about visual arts.

Povzetek: Članek obravnava problematiko literarnih besedil (kot so npr. zgodovinski romani, dnevniki, potopisi, biografije, literarni eseji ipd.), za katere je značilna visoka stopnja realnosti (kategorija mimesis) in v katerih se pojavljajo opisi realno obstajajočih prostorov, zgradb, umetnin itd. Ta zvrst leposlovja zahteva od prevajalca določeno znanje ter erudicijo in pogosto temelji na realnih izkušnjah, ki so povezana s čutili (videti, pogledati, pokušati, dotakniti), še predvsem z vidom (figura hipotiposis). Zanimiv primer, ki nekako druži problematiko znanja ter senzoričnega zaznavanja v prevodu, so potopisni eseji o umetnosti, za katere je značilna retorična figura ekhprasis, definirana kot “verbalni (jezikovni) opis resnično obstajajoče umetnine”. Z vidika teorije prevajanja, potopisni eseji o umetnosti (kot je npr. zbirka Zbigniewa Herberta Barbar v vrtu) implicirajo obstoj dveh tipov prevoda, ki sta: 1. primarno, v originalu, intersemiotični prevod (transmutacija) 2. sekundarno pa interlingvalni prevod (iz jezika v jezik). Prevajalec bi moral v postopek interlingvalnega prevajanja vključiti tudi transmutacijo, se pravi verificirati pravilnost prevoda tako v primerjavi z besedilom originala kot tudi z realno umetnino, ki je opisana v originalu.

Summary: This paper deals with the problem of literary texts (such as. Historical novels, diaries, travelogues, biographies, literary essays, etc.) which are characterized by a high degree of reality (category mimesis) and by realistic descriptions of the available spaces, buildings, art, etc. This type of literature requires a certain knowledge and erudition from the translator, and it is often based on real experiences which are connected to the senses (sound, sight, touch, smell, taste), but in particular with sight (figure hipotiposis). An interesting example, that somehow brings together the problems of knowledge and sensory perception in the process of translation, are the travelogue essays on art, characterized by the rhetorical figure known as ekphrasis — a “verbal (linguistic) description of an existent art object”. From the perspective of the theory of translation, travelogue essays concerning art (eg. Zbigniew Herbert‑collection “Barbarian in the garden”) imply the existence of two types of translation, which are: 1) intersemiotic translation (transmutation) and; 2) interlingual translation (from one language to another). During the process of interlingual translation it would be recommendable for the translator to also include the dynamics of transmutation, that is to verify the correctness of the translation in comparison to the original text as well as to the art object, described in the original text.

Translated Title: Category of ‘the body and corporeality’ in Polish translation of the drama Odbrojavanje (The Countdown) by Asja Srnec Todorović. Author Name: Katarzyna Wołek‑San Sebastian, Uniwersytet Jagielloński, Instytut Filologii Słowiańskiej, katarzyna.wolek@uj.edu.pl. Language: Polish. Issue: 6 (1)/2015. Page Range: 149-157. Ključne riječi: tijelo, tjelesnost, prijevod, nova hrvatska drama. Key words: the body and corporeality, contemporary Croatian drama, translation.

Sažetak: U članku se na osnovi teksta drame Asje Srnec Todorović Odbrojavanje govori o ključnoj kategoriji tijela i tjelesnosti u suvremenom hrvatskom dramskom pismu i njegovom polsjkom prijevodu Odliczanie. U drami Odbrojavanje pojavljuje se pitanje korijena i biti mržnje s kojom je neizbježivo povezano tijelo kao objekt i subjekt te mržnje. Analiza poljskog prevodilačkog rada prikazuje značajnost iskustva tijela u različitim diskursima koji se ostvaruju u ovoj drami. Identificiranje diskursa je uvjet uspješnog transfera kategorije tijela i tijelesnosti u novi jezični okvir.

Summary: The article discusses the key category of ‘the body and corporeality’ in contemporary Croatian drama and its Polish translation basing on the drama Odbrojavanje (‘The Countdown’) by Asja Srnec Todorović. Odbrojavanje concerns itself with the issue of the sources and the essence of violence, to which the body, as the subject and the object of violence, is connected. Analysis of the Polish translation of the drama allows one to realize how does the ‘experience of the body’ function in different linguistic discourses realized in the text. Discourse identification is inevitable for the categories of the body and corporality to be successfully transferred into the new linguistic space.

Translated Title: Unmasked translator Dubravka Ugrešić`s selected texts translated by Dorota Jovanka Ćirlić — a critical view. Author Name: Agata Jawoszek, Uniwersytet im. A. Mickiewicza w Poznaniu, Wydział Filologii Polskiej i Klasycznej, Instytut Filologii Słowiańskiej, agajaw@amu.edu.pl. Language: Polish. Issue: 6 (1)/2015. Page Range: 158-171. Ključne reči: Dubravka Ugrešić, Dorota Jovanka Ćirlić, kompetencije prevoditelja, domestifikacija, prevodilačka strategija, doslovnost, semantičke promjene, prijevod frazema. Key words: Dubravka Ugrešić, Dorota Jovanka Ćirlić, translator’s competence, domestification, strategy of translation, literality, semantic change, translation of idioms.

Sažetak: Na primjeru izabranih tekstova Dubravke Ugrešić prevedenih na poljski od strane Dorote Jovanke Ćirlić, najpopularnije ali i najčešće kritizirane od strane domaćih slavista, suvremene poljske prevoditeljice balkanske književnosti, razmotriti ćemo pitanje prisutnosti (ili odsutnosti) prevoditelja u tekstu. Na temelju prijevoda romana Štefica Cvek u raljama života i zbirke eseja Nikog nema doma analizirat ćemo prevodilačke strategije i pojedinačna translatorska rješenja kao i njihovo značenje u kontekstu prevodilačke slobode i njezinog utjecaja na postupak izgradnje pozicije autorice i recepcije njezinih tekstova u drugom kulturnom i jezičnom kontekstu.

Summary: On the selected Dubravka Ugrešić’s texts translated into polish by Dorota Jovanka Ćirlić, on the one hand the most popular on the second hand the most criticized by the local Slavists, contemporary Polish translator of Balkan literature, we can analyze the question of a presence (or absence) of translators in the text. On the example of translation of the novel Stefica Cvek in the Jaws of Life and book of essay There is no one at home, we analyze the strategies of translation and individual translator’s solutions as well as their importance in the context of “freedom of translator” and its impact on the process of building author’s position and reception of texts in different cultural and linguistic context.

Translated Title: The dialogue of familiarity and foreignness in Ivo Andric’s novel The Bridge on the Drina and the modification of evocative meanings of the proper names in the Polish translation. Author Name: Martyna Ecler-Pasku, Uniwersytet Opolski, Instytut Slawistyki, martyna.ecler@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 172-198. Кључне речи: Иво Андрић, књижевни превод, властита имена, семиосфера, опозиција наше/туђе. Key words: Ivo Andric, literary translation, proper names, semiosphere, opposition familiarity/ foreignness.

Сажетак: Чланак је покушај приступа проблему културног значења властитих имена у процесу превођења књижевног дела на примеру романа „На Дрини ћуприја” Иве Андрића и његовог превода на пољски. Превод сматрамо као комуникацију два простора знакова (семиосфере) који одржавају културно наслеђе, историјска искуства и хиерархију вредности одређене заједнице. Пошто је култура Босне и Херцеговине хетерогена, опозиција своје/туђе не може се разматрати искљушиво бинарно. Неке од властитих имена у роману евоцирају истовре‑ мено простор ‘свој’ и простор ‘туђи’. На примеру етнонима Турци покушавамо да прикажемо неколико преводилачких ог‑ раничења које потичу из семантичких и културних аспеката властитих имена. Разматра се затим проблем полисемије онима Турци, који је примећен такође у функцији апелатива. У пет преводилачких модела представља се на који начин култура оригинала и култура превода ограничавају преводиоцу одабир еквиваленције.

Summary: The article discusses the problem of the cultural meanings of proper names in the translation process of the novel ‘The Bridge on the Drina’ by Ivo Andric and its translation into Polish. The translation is considered to be the symbolic communication of two semiotic spaces (semiosphere) which cultivate the cultural heritage, historical experience and the hierarchy of values of a particular community. Since the culture of Bosnia and Herzegovina is heterogeneous, the opposition between familiarity and foreignness can not be considered only as binary. Some of the proper names in the novel simultaneously evoke the space of familiarity and the space of foreignness. In the case of ethnonym ‘Turks’ we will try to present several translational constraints which stem from the semantic and cultural aspects of proper names. We also examine the problem of polysemy of the proper name ‘Turks’ which functions as an apellative. On the basis of the five translational methods we will show in what way both the cultures (the one of the original work and the one of the translation) limit the translator in choosing equivalents.

Translated Title: Proper names in the prose written by Ciril Kosmač with regard to their translation from Slovenian into Czech. Author Name: Jana Šnytova, Univerza v Ljubljani, Filozofska fakulteta, Oddelek za slavistiko, jana.snyt@yahoo.fr. Language: Czech, Polish. Issue: 6 (1)/2015. Page Range: 199-225. Klíčová slova: propria, překlad, Ciril Kosmač, František Benhart, slovinská literatura. Key words: proper names, translation, Ciril Kosmač, František Benhart, Slovenian literature.

Resumé: Vrcholné prózy C. Kosmače Jarní den, Tantadruj a Balada o trubce a oblaku obsahují velké množství vlastních jmen, a to především reálných toponym z oblasti jihozápadního Slovinska, antroponym užívaných ve vesnickém prostředí v 1. polovině 20. století a přezdívek. Na základě analýzy originálu a překladu F. Benharta konstatujeme, že překladatel při práci s vlastními jmény volil především metodu transkripce (výpůjčky), méně často používá substituci, a to především u hypokoristik, a přezdívky nejčastěji doslovně překládá. Tímto přístupen zachovává, ba i silně podtrhuje kolorit slovinského prostředí, avšak na druhé straně ochuzuje čtenáře o některé organické prvky próz.

Summary: Kosmač’s best prosaic works Spring Day, Tantadruj and Ballade on a Trumpet and a Cloud contain a great number of proper names, in particular, real toponyms from the South‑West of Slovenia, anthroponyms used in the village environment in the 1st half of the 20th century, and nicknames. Based on the analysis of the original texts and Benhart’s translation, we state that, when translating proper names, the translator used mostly transcription (loanwords), less frequently substitution, mainly for hypocorisms, and literal translation for nicknames. This approach maintains, even emphasizes, the atmosphere and color of the Slovenian environment, however, it also deprives readers of the organic elements of the original works.

Translated Title: The translator’s freedom in the face of the cultural kaleidoscope based on examples from Božidar Jezernik’s essays. Author Name: Joanna Cieślar, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, joanna.cieslar28@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 226-236. Ključne besede: Božidar Jezernik, esej, prevajanje, prevajalec. Key words: Božidar Jezernik, essay, translation, translator.

Povzetek: Prispevek obravnava temo prevajalčeve svobode na primeru prevoda Jezernikove knjige Kava. Zgodovina številnih zanimivih osebnosti in ovir, s katerimi se je srečevala grenka črna pijača, imenovana kava, na svojem zmagovitem pohodu iz Arabije Feliks okrog sveta, ki ga ni uspel zaustaviti niti muhtasib svetega mesta Meka, ki je na Poljskem objavljena kot zbirka esejev. Avtorica še posebej posveča pozornost ponazoritvi posledic prevajalskih strategij in njihovih razmerij do eseja kot literarne zvrsti. Raziskuje in analizira prevajalske izbire na leksikalno‑semantični ravni ter prikazuje njihov vpliv na dojemanje prevedenega besedila.

Summary: The article deals with the topic of translator’s freedom, in particular investigating the case of the translation of Jezernik’s book Kava. Zgodovina številnih zanimivih osebnosti in ovir, s katerimi se je srečevala grenka črna pijača, imenovana kava, na svojem zmagovitem pohodu iz Arabije Feliks okrog sveta, ki ga ni uspel zaustaviti niti muhtasib svetega mesta Meka which was published in Poland as a collection of essays. The author pays particular attention to the effects of the translation strategies and its relation to the essay as a literary genre. She analyzes translator’s choises on the lexical‑semantic level and shows their impact on text reception.

Translated Title: Translation in the sphere of foreign culture. Author Name: Galia Simeonova‑Konach, Uniwersytet im. Adama Mickiewicza w Poznaniu, Instytut Filologii Słowiańskiej, galia.s.konach@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 237-248. Ключови думи: превод, рецепция, исторически и културен дискурс, Тадеуш Конвицки, Йордан Йовков, Екзотичният Друг. Key words: translation, reception, historical and cultural discourse, Tadeusz Konwicki, Yordan Yovkov, the Exotic Other.

Резюме: В статията са разгледани някои аспекти на избрани преводи на Тадеуш Конвицки и Йордан Йовков в България и Полша, както и въпроси, свързани с рецепцията на литературната творба в чужда културна среда. Макар двамата писатели да принадлежат към различни литературни направления и периоди, изходна база за предложените анализи са два формални, общи за динамиката на преводите и интереса към техните творби, признака: те не са сред най‑популярните и издавани полски и български прозаици в чуждата културна среда, а 1989 г. представлява своеобразна цезура на представянето им в нея, през следващите години техни творби не са публикувани. Разгледани са въпросите на рецепцията и трудностите от историческо‑културен характер, произтичащи от различния културен код на възприемателя или плод на стереотипни преводачески стратегии (екзотизиране).

Summary: This article examines the problems associated with the acceptance of the work of Tadeusz Konwicki in Bulgaria and Yordan Yovkov in Poland. The fundamental questions in the field of translation studies are considered in this article, which are related to the different cultural code of the recipient, historical difficulties and incorrect translation strategies.

Translated Title: The designated reader in the romance novel Dreams and stones by Magdalena Tulli, in the original and the translation by Jana Unuk into Slovenian. Author Name: Marlena Gruda, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, marlena.gruda@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 249-270. Ključne besede: bralec, mesto, interpretacija, frazem, kontekst, perspektiva. Key words: reader, city, interpretation, idiom, context, perspective.

Povzetek: Predvideni bralec izvirnika Sny i kamienie Magdalene Tulli in predvideni bralec prevoda Sanje in kamni v prevodu Jane Unuk sta dva ločena subjekta. Razlog za razliko med njima je drugačna konfiguracija odnosov med osebami izpovedi, intersemiotičnost in pragmatičnost prevoda ter drugačno funkcioniranje vsakega od teh besedil v drugi socialno‑kulturni resničnosti. Prevajalec, ki je najprej bralec izvirnika, potem pa avtor prevoda, izvaja dvojno aktualizacijo na podlagi lastnega vedenja, izkušenj in potencialnih bralčevih doživetij. Prevajalkin način branja in njena interpretacija, ki je osredotočena na zgodovinski kontekst, je opazna zlasti v leksikalni (prevod besednih zvez, frazemov in metafor) ter slovnični ravni, modalnih strukturah, v določanju kategorij, povezanih s časom, aksioloških kategorij „absolutnega” in metajeziku. Delo Sny i kamienie Magdalene Tulli je, zaradi mnogih kontekstov, strukturne sestavljenosti in večplastnosti izvor neenopomenskosti interpretacije in številnih morebitnih prevodoslovnih rešitev.

Summary: The designated reader of the original Sny i kamienie by Magdalena Tulli and the designated reader of the translation Sanje in kamni by Jana Unuk are two separate subjects. The reason for the difference is the differing configuration of the relationships between the current narrator, intersemiotics and the pragmatism of the translation as well as the differing functions in each of these texts’ socially‑cultural reality. A translator, who is first a reader of the original, and then the author of the translation, exercises a double actualization on the basis of her/his own behavior, life experiences and potential experiences as a reader of the text. The translator’s way of reading and her interpretation, which is focused on the historical context, is especially noticeable in the lexical (the translation of collocations, idioms and metaphors) and grammatical level, modal structure, determination of categories of time, axiological categories of „the absolute” and metalinguistics. The work Dreams and Stones by Magdalena Tulli is, due to the plethora of philosophical and historical contexts, its structural composition and multifacetedness the cause of multiple meanings of interpretation and therefore, contains multiple possible translation solutions.

Translated Title: Transfer of selected linquistic elements in the translation of Polish poetry into Macedonian. Author Name: Lidija Tanuševska, Uniwersytet św. św. Cyryla i Metodego w Skopju, Instytut Slawistyki, lidkapol@yahoo.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 271-280. Kлучни зборови: поезија, превод, доминанта, рима, алитерација, слобода, граници. Key words: poetry, translation, dominants, rhyme, alliteration, freedom, limits.

Резиме: Овој труд ги разработува проблемите кои произлегуваат при преводот на поезијата од македонски на полски и од полски на македонски јазик. При тоа се обрнува посебно внимание на формата на поетската творба како ограничувачки фактор на слободата на преведувачот. Во статијата се земени примери од постари преводи, како и примери земени од наставата по превод и преведувачката работилница на Семинарот за македонски јазик, литература и култура. Се става акцент на дилемата дали да се зачува формата и до кој степен содржината треба да подлегне на губење во преводот.

Summary: This article deals with the problems which appear in translating poetry from Macedonian into Polish and from Polish into Macedonian. At the same time it pays special attention to the poetic form as a limiting factor of the translator’s freedom. The article presents examples of older translations, as well as examples from translation classes at the University of Skopje and from the translation workshop at the Summer School of Macedonian Language, Literature and Culture. The focus is on the dilemma of whether the form should be preserved and to what degree the contents could succumb to translation loss.

Translated Title: The Translator as an institution — the case of The Polish People’s Republic and the second Yugoslavia. Author Name: Leszek Małczak, Uniwersytet Śląski, Instytut Filologii Słowiańskiej, leszek.malczak@us.edu.pl. Language: Polish. Issue: 6 (1)/2015. Page Range: 281-289. Ključne riječi: institucije, prijevodna književnost, Narodna Republika Poljska, druga Jugoslavija. Key word: institutions, translation literature, The Polish People’s Republic, the second Yugoslavia.

Sažetak: Prevoditelji su dio institucionalizirane prijevodne književnosti zajedno s organizacijama prevoditelja, književnom kritikom, izdavačkim kućama i časopisima. Igrali su vrlo važnu ulogu u Narodnoj Republici Poljskoj. Komunistička ih je partija smatrala gnijezdom opozicije. Prva poljska organizacija prevoditelja osnovana je tek 1981., nakon više godina neuspjelih pokušaja, što nije slučajno, za vrijeme najveće popularnosti sindikata Solidarnost. Prijevodna je književnost bila dio kulturnih veza s inozemstvom koje su pak bile dio vanjske politike i međunarodnih odnosa i kao takve su se nalazile pod potpunom kontrolom države. Politička je ideologija faktor koji u najvećoj mjeri tječe na kulturnu politiku. Unatoč svim izvanknjiževnim ograničenjima, prijevodna je književnost, kao i kulturne veze s inozemstvom, imala veću slobodu nego druge kulturne institucije zato što je vlast htjela izgraditi pozitivnu sliku zemlje, pogotovu za stranog recepijenta. Položaj prevoditelja u Narodnoj Republici Poljskoj bio je blizak Horacijevu modelu prevođenja, akt pregovaranja u kojem sudjeluju patron (u ovome slučaju država), dva jezika i kulture.