PL
prof. zw. w Instytucie Filologii Słowiańskiej Uniwersytetu Śląskiego; kierownik i twórca Zakładu Teorii Literatury i Translacji (pełniła funkcję kierownika do września 2016 roku) oraz czasopisma „Przekłady Literatur Słowiańskich”; badaczka dwudziestowiecznej literatury polskiej i słoweńskiej; zajmuje się teorią literatury, komparatystyką, teorią przekładu, poetyką historyczną. Szczególną uwagę poświęca problematyce przekładów, zwłaszcza słoweńskim przekładom literatury polskiej oraz polskim przekładom literatury słoweńskiej. Autorka m.in. książek: Teoria literatury. Metodologia badań literackich (współautor: S. Zabierowski); Mit literacki. Od mitu rzeczywistości do zmiany substancji poetyckiej (1983); Poetyka Nowej Fali (1990); Wzorzec, podobieństwo, przypominanie (Ze studiów nad przekładem artystycznym) (1998); Między destrukcją a konstrukcją. O poezji Srečka Kosovela w kontekście kon‑ struktywistycznym (2004); Spotkania. Czasoprzestrzeń przekładu artystycznego (2010).
SL
Redna profesorica na Inštitutu za slovansko filologijo Šlezijske univerze v Katovicah; ustanoviteljica in (do septembra 2016) vodja Katedre za literarno teorijo in prevajanje; glavna urednica revije Przekłady Literatur Słowiańskich (Prevodi slovanskih literatur). Raziskuje poljsko in slovensko književnost 20. stoletja, ukvarja se tudi z literarno teorijo, primerjalno književnostjo, teorijo prevoda, literarno zgodovino. Posebno pozornost posveča prevodoslovni problematiki, in sicer slovenskim prevodom poljske literature in obratno. Objavila je vrsto znanstvenih prispevkov in nekaj znanstvenih monografij, mdr.: Teoria literatury. Metodologia badań literackich (soavtor: S. Zabierowski); Mit literacki. Od mitu rzeczywistości do zmiany substancji poetyckiej (1983); Poetyka Nowej Fali (1990); Wzorzec, podobieństwo, przypominanie (Ze studiów nad przekładem artystycznym) (1998); Między destrukcją a konstrukcją. O poezji Srečka Kosovela w kontekście konstruktywistycznym (2004); Spotkania. Czasoprzestrzeń przekładu artystycznego (2010).
Bożena Tokarz: Słoweńskie wybory literatury polskiej: przekłady z lat 1990—2006 pobierz Rozwiń
Povzetek: V letih 1990—2006 je bilo v že samostojni Sloveniji prevedenih okoli 50 poljskih knjig (s področij poezije, proze in dramatike), ob tem pa še veliko posameznih pesmi in pripovedi ter fragmentov večjih literarnih enot. V teh slovenskih izborih poljske literature lahko po eni strani vidimo nadaljevanje njene tradicionalne navzočnosti v slovenski kulturi, po drugi pa izhajajo iz čedalje širših jezikovno-enciklopedijskih kompetenc prevajalcev. Opredeljujejo jih (izbore) štirje kriteriji: poljskost, empatija, potreba po spoznanju poljske mentalitete in literarnozgodovinskega procesa ter osebna motivacija. Avtorji izborov in prevodov poljske literature so prevajalci, ki pripadajo različnim rodovom in imajo različne poglede na potrebe slovenskega bralca in značaj poljske literature ter mentalitete. Čeprav pripada poljski literaturi v slovenskem literarnem življenju opazno mesto, prevajalske izbore iz nje narekuje opažanje drugačnosti, ki jo prevajalci različnih generacij domačemu prejemniku približujejo skozi izbor del, pripadajočih kanonu, pogosto pa tudi z besedili s slednjemu prav nasprotnega pola.
Summary: Between the years 1990 and 2006, about 50 Polish books (poetry, prose and drama) were translated in already independent Slovenia, also a lot of single poems, short stories and fragments of more substantial compositions. Slovene macrochoices from Polish literature on the one hand constitute continuation of the traditional presence in the Slovene culture, on the other hand they result from increasing language and encyclopedic competencies of the translators. The choices are defined by four criteria: Polishness, empathy, the desire to get to know the Polish mentality, the historically-literal process and personal motivation. The authors of choices and translations of Polish literature are translators belonging to many generations, differently evaluating the needs of a Slovene reader and the character of Polish literature and mentality. Although Polish literature is distinctly present in the Slovene literary life, in the Slovene choices from it dominates perspective of strangeness, with which translators from different generations familiarise the native recepient, choosing works belonging to the canon and often to the opposite pole.
Bożena Tokarz: W perspektywie poznania i projekcji. O polskim przekładzie zbioru esejów Draga Jančara Terra incognita pobierzRozwiń
Translated Title: Vidik spoznavanja in projekcije O poljskim prevodu zbirke eseja Dragota Jančarja Terra incognito / In the Perspective of Cognition and Projection About a Polish Translation of the Collection of Essays Terra incognita by Drago Jančar. Author Name: Bożena Tokarz, Instytut Filologii Słowiańskiej Uniwersytet Śląski, bozena.tokarz@us.edu.pl, Language: Polish. Issue: 2 (1)/2011. Page Range: 269-282.
Povzetek: V prevodu esejev Draga Jančarja z naslovom Terra incognita medkulturni dialog poteka na ravni leksike v okviru lastnih imen, kar bralca prisili k iskanju njene pomenske denotacije v drugih evropskih območjih. To ni prevod, ki slovensko izrazi po poljsko, kot je Paul Ricoer posrečeno opredelil prevod, ki naj bi bil popoln po obliki, še bolj pa po funkciji. To pomeni, da s strukturo in izraznostjo poljskega jezika ne vstopamo v dialog s slovensko kulturo in njeno miselnostjo. Ne lede na nedvomno prevajalkino intuicijo, njene jezikovne, logične in v znatni meri tudi pragmatičnologične zmožnosti, miselni dialog med kulturama v prevodu ni prišel do izraza. Poleg tega je prevajalka uporabila izvirni naslov avtorjeve knjižne zbirke esejev in z nim naslovila drugo vsebino. Tovrstna zloraba zaupanja avtorja in bralca do prevajalca spreminja podobo prevedenega dela, ki ni isto kot izvirnik. Zaradi avtorjeve nadarjenosti, prevajalkine prizadevnosti in optimalnega časovnega razpona med izidom izvirnika in prevoda, se sodobna slovenska esejistika v zavesti poljskega bralca povezuje predvsem z Dragom Jančarjem, čeprav je mestoma prikazan v pretirani podobnosti z Adamom Michnikom, Dubravko Ugrešić ali Ivanom Čolovićem.
Summary: In the translation of the essays of Drago Jančar entitled Terra incognita, an intercultural dialogue has been undertaken on the level of lexis within the scope of proper names, making a reader search for the denotements in other regions of Europe. It is not a translation that would speak Slovene in Polish, as Paul Ricoeur accurately defined a translation that would be perfect in shape and more in function. It means that we do not commune with the Slovene culture and with its mentality through the structure and the expression of the Polish language. Despite the undoubted translational intuition of the translator, her language, logical competences and, to a large extent, pragmatically-logical competences, a mental dialogue did not take place between the cultures. Moreover, the translator has used the original title of the book, presenting some other contents of that book. Such abuse of the author’s and receiver’s confidence that is put in a translator changes the view of the rendered text that does not resemble the original. The talent of the author, the effort of the translator and the optimal time of appearing of the translation of the essays caused that the contemporary Slovene essay writing reminds a Polish reader of Jančar, although sometimes of Adam Michnik in a perspective that would make him too alike, of Dubravka Ugešić or of Ivan Čolović.
Bożena Tokarz: Gombrowicz w Słowenii: ramy interpretacyjne czasu i przestrzeni kulturowej pobierzRozwiń
Translated Title: Gombrowicz v Sloveniji: interpretacijski okviri časa in kulturnega prostora / Gombrowicz v Sloveniji: interpretacijski okviri časa in kulturnega prostora. Author Name: Bożena Tokarz, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, bozena.tokarz@gmail.com. Language: Polish. Issue: 2 (1)/2011. Page Range: 234-251. Klučne besede: proza, Gombrowicz, prevod, kultura, medkulturno sporazumevanje; Key words: prose, Gombrowicz, translation, culture, intercultural communication.
Povzetek: Rekontekstualizacija Gombrowiczeve proze v slovenskih prevodih se je izvršila v treh različnih časovnih in prostorskih interpretacijskih okvirih: v sedemdesetih, devetdesetih letih in 2000 letih. Opredeljujejo jo: strategija prevajalcev, politični položaj, prevodi in recepcija tujih književnosti (predvsem zahodnih), globalni kulturno-civilizacijski položaj in stanje ciljne literature prevoda. V prevodih Gombrowicza prihaja ocenjevanje kulturnih barier in stopnja njihovega preseganja tako iz izhodiščne kot tudi ciljne kulture: torej od politične aktualizacije poljske zavesti prek retorične zaznamovanosti njenega koda do hibridizacije in obojestranskega prenikanja časov, prostora, spoznavnih in emocionalnih stališč. Težavo pri opazovanju literanega medkulturnega dialoga v slovenski prozi poglablja dejstvo, da so se poleg prevodov Gombrowicza približno v istem času (zlasti od druge polovice osemdesetih let naprej) pojavili prevodi iz ameriških literatur.
Summary: The recontextualization of the prose by Gombrowicz occurred within three different interpretational frames in the translation into Slovene, time frames and space frames: in the 70., 90. and in 2000. They are appointed by the strategy of the translators, by the political situation, by the translations and the reception of foreign literature (above all western literature), by the global situation connected with culture and civilization and by the condition of the target literature of the translation. All of them are determined by the system of expectations of the audience and by the „life” of the translations. In the translations of Gombrowicz have evolved cultural barriers and the degree of crossing them from the side of the source culture and also from the side of the target culture: beginning with the political actualization of Polish awareness through its rhetorical over-coding up to hybridization and mutual merging of times, space, cognitive and emotional attitudes. The difficulty of following the intercultural literary dialogue in the Slovene prose is deepened by the fact that the translations of American literatures occurred more or less when the translations of Gombrowicz were done (particularly, beginning in the mid 80.).
Bożena Tokarz: Gombrowicz w Słowenii: ramy interpretacyjne czasu i przestrzeni kulturowej pobierzRozwiń
Translated Title: Gombrowicz v Sloveniji: interpretacijski okviri časa in kulturnega prostora / Gombrowicz v Sloveniji: interpretacijski okviri časa in kulturnega prostora. Author Name: Bożena Tokarz, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, bozena.tokarz@gmail.com. Language: Polish. Issue: 2 (1)/2011. Page Range: 234-251. Klučne besede: proza, Gombrowicz, prevod, kultura, medkulturno sporazumevanje; Key words: prose, Gombrowicz, translation, culture, intercultural communication.
Povzetek: Rekontekstualizacija Gombrowiczeve proze v slovenskih prevodih se je izvršila v treh različnih časovnih in prostorskih interpretacijskih okvirih: v sedemdesetih, devetdesetih letih in 2000 letih. Opredeljujejo jo: strategija prevajalcev, politični položaj, prevodi in recepcija tujih književnosti (predvsem zahodnih), globalni kulturno-civilizacijski položaj in stanje ciljne literature prevoda. V prevodih Gombrowicza prihaja ocenjevanje kulturnih barier in stopnja njihovega preseganja tako iz izhodiščne kot tudi ciljne kulture: torej od politične aktualizacije poljske zavesti prek retorične zaznamovanosti njenega koda do hibridizacije in obojestranskega prenikanja časov, prostora, spoznavnih in emocionalnih stališč. Težavo pri opazovanju literanega medkulturnega dialoga v slovenski prozi poglablja dejstvo, da so se poleg prevodov Gombrowicza približno v istem času (zlasti od druge polovice osemdesetih let naprej) pojavili prevodi iz ameriških literatur.
Summary: The recontextualization of the prose by Gombrowicz occurred within three different interpretational frames in the translation into Slovene, time frames and space frames: in the 70., 90. and in 2000. They are appointed by the strategy of the translators, by the political situation, by the translations and the reception of foreign literature (above all western literature), by the global situation connected with culture and civilization and by the condition of the target literature of the translation. All of them are determined by the system of expectations of the audience and by the „life” of the translations. In the translations of Gombrowicz have evolved cultural barriers and the degree of crossing them from the side of the source culture and also from the side of the target culture: beginning with the political actualization of Polish awareness through its rhetorical over-coding up to hybridization and mutual merging of times, space, cognitive and emotional attitudes. The difficulty of following the intercultural literary dialogue in the Slovene prose is deepened by the fact that the translations of American literatures occurred more or less when the translations of Gombrowicz were done (particularly, beginning in the mid 80.).
Bożena Tokarz: Ostatnia Wieczerza Pawła Huellego (i Jany Unuk) jako konfrontacja z tradycją, z własną i cudzą kulturą pobierz Rozwiń
Povzetek: Slovenski prevod romana Zadnja večerja Pawła Huelleja je izšel leta 2010, komaj tri leta po izidu izvirnika, prevedla ga je Jana Unuk. Miselna shema Zadnje večerje (kot podlaga stereotipa), ki jo sestavljajo skupna večerja Jezusa in apostolov na način daritvene gostije, Jezusova vednost o Judeževi izdaji, lastnem mučeništvu in žrtvovanju ter preobrazba in sporočilo vere — obsega strukturo celotnega romana. Stereotip je vključen v kontekst sodobnih dogajanj kot argument širšega dialoga na temo skupnosti, svobode, izdaje, vere in umetnosti. Jana Unuk je pri prenašanju smisla in ideje izvirnika v slovensko kulturo glede na uresničeni jezikovni transfer do določene mere soustvarjalka romana. Kljub prevajalkini zvestobi izvirniku in njenim prevajalskim veščinam miselna shema Zadnje večerje, naravnana na prihodnost, zaradi drugačne pragmatike slovenskega jezika in nekoliko drugačne kulturne imaginacije ni dosegla vseh potencialov izvirnika (zbujajočih upanje). Ko izvirnik vstopa v ciljno kulturo, privzema njene lastnosti celo na ravni prevoda tako univerzalnih stereotipov, kot so religiozni stereotipi.
Summary: In 2010, only three years after the Polish edition, a translation by Jana Unuk of the novel Ostatnia Wieczerza (‘The Last Supper’) by Paweł Huelle appeared. The mental schema of The Last Supper (the basis of a stereotype), which is in the character of a sacrificial feast and consists of: the shared supper of Jesus and the apostles, the knowledge of Jesus about the betrayal by Judas, about His own martyrdom, sacrifice and transubstantiation and the message of faith, covers the structure of the entire novel. The stereotype has been introduced into the context of the contemporary events as an argument of a broader dialogue on the topic of community, freedom, betrayal, religion and art. In a way, Jana Unuk has become a co-author of the novel by transferring the sense and the idea of the original version to the Slovenian culture, due to the performed language transfer. Despite the faithfulness to the original and the translation art of the translator, the mental schema of The Last Supper that is oriented upon the future did not receive the potentiality of the original (giving hope) because of the different pragmatics of the Slovenian language and its slightly different cultural conception. Entering into an accepting culture, the original assumes its features even on the level of translating stereotypes that are as stable as religious stereotypes.
Bożena Tokarz: Obcy w nas i my w obcym: przekład jako różnica i podobieństwo czy przypominanie pobierz Rozwiń
Translated Title: A Stranger in Us and We in a Stranger: a difference and a similarity or a reminder. Author Name: Bożena Tokarz, Uniwersytet Śląski, tokarzbozena@gmail.com. Language: Polish. Issue: 5 (1)/2014. Page Range: 68-83. Key words: translation, comparative study, translation studies, hermeneutic, a „cultural turnabout”. Summary: The knowledge on translation, which was developed by different methodologies and different disciplines, fulfills the need of taking into consideration the structurally-artistic issues by comparative literary studies, most basic for literature and literary studies, occupying the central place in comparative literature. This shift in comparative interests is accompanied by a revealing lack of works undertaking research into developmental-typological regularities in general literature. Moreover, with the central position of translation in this discipline, it is paradoxical that resigning from text and its subject matter in favour of reception and the results of functioning of translation in the target culture has been declared. While the dislike for systemizing and typologizing facts of general literature is doubly hard because of the disapproval of dogmatic theories and the difficulties within research into the abundance of literary material, the target, the place, the circumstances and the way of functioning in time and in culture are inherent parts of the linguistically-artistic structure, that is, everything that is within interests of the contemporary culturally oriented literary studies.
Bożena Tokarz: Perspektywa tekstowa i perspektywa kulturowa w przekładzie, czyli o kłopotach współistnienia pobierz Rozwiń
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.
