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: Několik poznámek o českém překladu Paw królowej Doroty Masłowské / A few remarks on Czech translation of Dorota Masłowska’s Paw królowej. Author Name: Izabela Mroczek, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, izabela.mroczek@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 32-44. Klíčová slová: vulgarizovaný překlad, redundance v překladu, překladatelská chyba, kulturový transfer; Key words: vulgarization of the text, redundancy in translation, translating mistake, cultur trans­fer.

Résumé: Barbora Gregorová, překladatelka knižek Doroty Masłowské do češtiny, uvedla pro českého čtenáře velmi obtížnou pro překlad knižku — Paw królowej (Královnina šavle). Pokud srovná­me text originálu a překladu, najdeme několik druhů problémů, které se v českém textu našly, mezi nimi jsou: nečekaně silná rytmizace a vulgarizace textu, nesprávné použití obecné češtiny, redundance v překladu nebo chyby, jenž jsou výsledkem nepochopení překladatelkou textu orgi­nálu. Tyto problémy ale nediskvalifikují český překlad, protože nedominují nad vynalezavými, dokonce bravurními překladatelskými náměty Báry Gregorové.

Summary: Barbora Gregorová, translator of Dorota Masłowska’s books to Czech language, presented to Czech readers a novel very complicated to translate — Paw królowej (Czech title: Královni­na šavle). If we compare the text of original with the translation, we can find many groups of problems, which are present in Czech text, among them: unexpected strong rhythmization and vulgarization of the text, incorrect use of contemporary Czech language (obecná čeština), redun­dancy in translation or mistakes, which are the result of wrong understanding of original text by the translator. These problems do not disqualify Czech translation, because they do not dominate inventive, daring translating ideas of Bára Gregorová.

Translated Title: Transkulturnost originala u prevodu (na osnovu romana Derviš i smrt Meše Selimovića) / Transculturality of the original in its translation (based on the Meša Selimović’s novel Derviš i smrt). Author Name: Iwona Stanios, Instytut Filologii Słowiańskiej, Uniwersytet Śląski. Language: Polish. Issue: 2 (1)/2011. Page Range: 45-62. Ključne reči: Bosna i Hercegovina, kognitivne strukture, idelizovani kognitivni modeli, Meša Selimović, transkulturnost; Key words: Bosnia and Herzegovina, cognitive structures, idealized cognitive models, Meša Selimović, transculturality.

Rezime: U članku je predstavljen problem transkulturnosti koja se pojavljuje u prototipu (to znači u originalnom delu), ali koja delimično ili potpuno nestaje u prevodu. To se dešava kada je tekst preveden sa transkulturnog prostora (Bosna i Hercegovina) u monokulturni prostor (Poljska). Transkulturnost Selimovićeg romana Derviš i smrt uglavnom je prisutna u jeziku koji se odlikuje pozajmljenicama sa arapskog i turskog. Ove se pozajmljenice mogu podeliti u 3 katego­rije: reči sa kulturnim karakteristikama, reči u vezi sa islamom i reči koje se tiču mesta (Bosna i Hercegovina). Svaki jezik obuhvata istoriju i kulturu naroda, tako i jezik Selimovićeg romana obuhvata 500-godišnju tursku okupaciju. Nije moguće da se pronađe u poljskom jeziku ekvi­valente korištenih pozajmljenica jer u poljskom jeziku ne postoje reči sa takvim emocionalnim i istorijskim karakteristikama. U ovakvim situacijama prevodilac može da koristi redukciju ili amplifikaciju, ali ipak razumevanje romana biće iskrivljeno jer primarni i sekundarni primalac imaju različite kognitivne strukture i neke reči će aktivirati drukčije idealizovane kognitivne modele u njihovim umovima. Zaključak je da transkulturnost uzrokuje teškoće kod prevođenja romana. Dešava se tako zbog nemogućnosti da se pronađe ekivalente i zbog razlika u kognitivnim strukturama primar­nog i sekundarnog primaoca.

Summary: The article discusses the problem of transculturality that appears in the prototype (that is, the original work), but which partly or completely disappears in its translation. It occurs when a text is translated from a transcultural area (i.e. Bosnia and Herzegovina) into a monocultural area (i.e. Poland). Transculturality of Meša Selimović’s novel Derviš i smrt appears mostly in the language that is characterized by borrowings from Arabic, Persian and Turkish. The borrowings can be divided into 3 categories: words with cultural features, words connected with Islam and words connected with the place (Bosnia and Herzegovina). Since every language comprises the history and culture of the nation, the Serbian language is marked with the 500-year-long Ottoman occupation. It is impossible to find equivalents for those borrowings in the Polish language as there are no words with such emotional and historical features. The translator can use either reduction or amplifica­tion in these situations, but it will definitely distort the understanding of the novel as the primary and secondary receivers have different cognitive structures and some words will trigger different idealized cognitive models in their minds. In conclusion, the transculturality makes the novel difficult to translate because of the im­possibility to find equivalents and because of the differences in the primary and secondary re­ceivers’ cognitive structures. Key words: Bosnia and Herzegovina, cognitive structures, idealized cognitive models, Meša Selimović, transculturality.

Translated Title: Kulturne bariere v literarnem prevodu na podlagi slovenskega prevoda Pana Tadeusza Rozke Štefan / Cultural barriers in a literary translation on the basis of the Slovenian translation of Pan Tadeusz by Rozka Stefan. Author Name: Nikolaj Jež, Univerza v Ljubljani, nikolaj.jez@guest.arnes.si. Language: Polish. Issue: 2 (1)/2011. Page Range: 63-74. Klučne besede: Rozka Štefan, Gospod Tadej v slovenskem prevodu, Adam Mickiewicz, kulturne bariere v prevodu, metrika in verzifikacija v prevodu; Key words: Rozka Štefan, Pan Tadeusz in the Slovenian translation, Adam Mickiewicz, cultural barrier in the translation, metrics and versification in the translation.

Povzetek: Historiat slovenske recepcije Pana Tadeusza na eni strani razkriva značilne kulturne bariere, ki so zaznamovale razumevanje poljskega romantičnega epa pri Slovencih, na drugi pa razkriva, da je Mickiewiczeva težnja po oddaljitvi od visokega romantičnega stila izvirnik že ob izidu približevala slovenski kulturni tradiciji. Sodbe slovenskega učenjaka in teoretika Matija Čopa o pesnitvi so eleminirale bariere, navzoče pri bralcih izvirnika, začrtale so okvire slovenske recepcije poljskega romantizma in ustvarile podlago za oblikovanje slovenske različice poljskega romantičnega literarnega kanona. Zavest o barierah pri prevajanju poljske romantične poezije je bila pri Slovencih osredotoče­na predvsem na vprašanje metrike in verzifikacije. R. Štefan je v prevodu pesnitve (1974) upoštevala načelo nadomeščanja trinajstercev s silabotonično jambsko strukturo (z odstopi v cezuri in zvočnih figurah). Pan Tadeusz predstavlja bariero tudi na ravni leksike in stilistike, ekvivalenti „staropoljskih vrlin” se v pesnitvi kažejo v rabi osebnih imen, retoričnih figurah, poimenovanju realij. Prevajalka je večinoma ohranjala izvirna imena, ki so kot antroponimi sicer funkcionalni, vendar z omejeno denotativno vrednostjo (Podkomornik, Vojski, Vozni). Pri izboru leksikalnih ekvivalentov je v prevodu opazna tendenca k zniževanju statusnega položaja, skladnem s kmeč­ko-podeželskim okoljem, značilnem za slovensko ruralno skupnost. Načelo, naj prevod ohranjanja specifike izvirnika, prevajalka uresničuje, kolikor ji dopuščajo leksikalne in strukturne lastnosti slovenskega jezika. Poljske oblike imen pri osrednjih osebah dobijo značilno slovensko fonetično podobo (Tadej, Zosja, Matej, Gervazij), imena stranskih oseb ostanejo v izvirni obliki (Rymsza). Značilna nevtralizacija prevoda je vezana na zgodovinske izraze, povezane s sarmatsko-ple­miškim kulturnim modelom, ki v prevodnem jeziku nimajo ustreznikov. Prevajalka je kulturne bariere reševala na tri načine: s substitucijo leksemov, z nevtralizacijo zaznamovanih izrazov in citatno.

Summary: On the one hand, the overview of the Slovene reception of Pan Tadeusz reveals typical cul­tural barriers which have marked the comprehension of the Polish Romantic Epic by the Slovene public, while on the other hand it also reveals that the tendency of Mickiewicz to distance him­self from the style of High Romanticism brought the original, on its very publication, closer to the Slovene cultural tradition. The evaluation of the poem by Matija Čop, Slovene scholar and theoretician, has eliminated the barriers experienced by readers of the original and outlined a framework for the Slovene reception of Polish Romanticism, as well as creating a basis for the formation of a Slovene version of the Polish Romantic literary canon. In the Slovene environment, the awareness of barriers in the translation of Polish Romantic poetry has been focused mainly on the questions of metrics and versification. In her transla­tion of the poem (1974), R. Štefan applied the principle of the substitution of thirteen-syllable verse with the syllabotonic iambic structure (with deviations in caesura and sound figures). Pan Tadeusz also constitutes a barrier on the levels of lexis and style; „Old Poland virtue” equiva­lents are manifest in the use of personal names, rhetorical figures, and in the naming of realia. For the most part, the translator preserved the original names, which, being anthroponyms, are functional but of a limited denotative value (Podkomornik, Vojski, Vozni). In selecting lexical equivalents, one observes in the translation a noticeable tendency towards lowering the status pertaining to the rural-country environment typical of the Slovene rural community. The princi­ple of preserving the specifics of the original is respected to the extent permitted by the lexical and structural features of the Slovene language. The Polish name forms of the central characters acquire distinctive Slovene phonetic features (Tadej, Zosja, Matej, Gervazij), while the names of minor characters retain their original form (Rymsza). As a characteristic translation strategy, neutralisation is adopted in historical expressions related to the cultural model of Sarmatian nobility, having no translation equivalents in the target language. The translator aimed to resolve the cultural barriers in three ways: lexeme replace­ment, neutralisation of stylistically marked expressions, and preservation of original expressions.

Translated Title: Između politike i estetike — o recepciji i prijevodu Brešanove Predstave „Hamleta” u selu Mrduša Donja / Between politics and aesthetic — about the reception and translation of Brešan’s Predstava “Hamleta” u selu Mrduša Donja. Author Name: Leszek Małczak, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, leszek.malczak@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 75-94. Ključne riječi: Ivo Brešan, Predstava „Hamleta” u selu Mrduša Donja, recepcija, prijevod, politika, estetika; Key words:  Ivo Brešan, Predstava “Hamleta” u selu Mrduša Donja, reception, translation, politics, aesthetic.

Sažetak:  Predstava „Hamleta” u selu Mrduša Donja je najpopularnija u Poljskoj hrvatska i šire bivša jugoslovenska drama i predstava. Njezin je prijevod prvi put objavljen u časopisu Dialog (br. 1/1975), a zatim u knjizi Antologia współczesnego dramatu jugosłowiańskiego 1988. Prva je predstava realizirana 1975. u Zielonoj Góri, posljednja 2009. u Krakowu. Ukupno Brešanov tekst je bio izvođen u 16 poljskih kazališta. U članku se analizira recepciju i interpretaciju koje oscili­raju između dva suprotna pola: ili se naglašava općeljudsku dimenziju teksta pa pruža universa­lističku intepretaciju, ili se inzistira na političkom i društvenom kontekstu.

Summary:  Predstava “Hamleta” u selu Mrduša Donja is the most popular Croatian and former Yu­goslav drama and play in Poland. The Polish translation of Predstva… was published in the magazine Dialog (nr. 1/1975) and then in 1988 in the book Antologia współczesnego dramatu jugosłowiańskiego. The first play was realised in Zielona Góra in 1975, the last one in Krakow in 2009. In total, Brešan’s text was played in 16 Polish theatres. The subject of the analisys is the reception and translation which oscillates between two opposite poles: universal interpeta­tion which emphasises human, timeless meaning of the drama and political interpretation which emphasises political and social context presented in the drama.

Translated Title: Proces prijevoda i funkcije aksiološkog diskursa u izvornom tekstu / Translation process and function of axiological discourse in the source text. Author Name: Mateusz Warchał, Akademia Techniczno-Humanistyczna w Bielsku Białej, mateusz.warchal@poczta.onet.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 97-106. Ključne riječi: aksiološki diskurs, prevođenje, funkcionalna vrijednost, mreže značenja, vrednovanje;  Key words: axiological discourse, translation, network of meanings, emotionally-moving language, categorization.

Sažetak: U članku se pokušava pokazati funkciju aksiološkog diskursa u smislu prepreka, koje su inherentne procesu prevođenja. Aksiološki diskurs eksplicitno uključuje skriveni i transparentni svijet autora. Vrijednost postaje funkcionalna u tekstu, jer emocije odlikuju se aksiološki. Dis­kurs analiziran u tekstu i (re)predstavljen u prijevodu odraz je društveno konstruirane mreže značenja, percepcije i načina pripovijedanja „balkanskih” društvenih odnosa. Na temelju prim­jera autor pokazuje kako proces provedbe često se odvija uz uporabu emocionalnog jezika, koji pokazuje aksiološko vrednovanje kategorija i ometa praksu prevođenja, zbog određenich teškoća.

Summary: The aim of presented discussion is an attempt to identify the function of discourse about values and its distribution in translated texts with an indication of the difficulties that accompany this process. Translation of axiological discourse hidden and explicit purpose of author’s evalua­tive reality — emotions, and their features make it functional in the secondary text. Translation is not absolute, even if the values are absolute. The discourse analyzed in the text and (re)presented in translation is a reflection of socially constructed network of meanings, perceptions and ways of narration, contributing to the “Balkan” social relations. On the basis of examples author shows how the implementation process takes place with the use of emotionally-moving language, which serve axiological valuation category and makes the practice of translation difficult.

Translated Title: Český humor polsky / Czech humour in Polish. Author Name: Lenka Németh Vítová, Uniwersytet Adama Mickiewicza w Poznaniu, lvitova@amu.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 107-118. Klíčové slová: český smysl pro humor, česká literatura, Švejk, Cimrman, překlad: Key words: Czech sense of humour, Czech literature, Švejk, Cimrman, translation.

Résumé: V Polsku je velmi populární tzv. český humor. Otázka, jak je překládán, je zodpovídána na základě rozboru krátkých úryvků z Haškova románu o Švejkovi a hry Divadla Járy Cimrmana — dvou rozdílných typů humoru, se kterým se sami Češi ztotožňují natolik, že některé obraty přecházejí do každodenního jazyka. Analýza románu o Švejkovi ukázala zásadní rozdíl mezi první a poslední, už třetí verzí překladu — první překlad zaměňuje mnoho neutrálních obratů originálu na stylisticky zabarvené s konotacemi citového prožitku, třetí překlad přesně odráží příznakovost originálu; ale právě odstupňované zabarvení vyvolává prostřednictvím postupné konfrontace nesourodých prvků komický efekt. Analýza hry Divadla Járy Cimrmana dokázala, že humor týkající se převážně české identity může být tlumočený, ale ne přeložený. Oba příklady vedou k formulování dvou základních kulturních bariér v překladu: jazyková bariéra a bariéra tradice.

Summary: So-called Czech humour is very popular in Poland. This contribution analyzes short sections of Hašek’s novel about Švejk and a play by the Jára Cimrman Theatre in order to explore how hu­mour is translated. The chosen texts represent two different types of humour that Czechs identify with to such an extent that some expressions actually seep into everyday language. The analysis of the novel about Švejk suggests significant differences between the first and final (in fact third) translation into Polish. While the first translation replaces a number of originally neutral expres­sions with stylistically marked ones to denote emotional experiences, the third one reflects the original’s stylistic marks. Yet, it is the gradual use of these marks that brings about a comic ef­fect through the gradual confrontation of disparate elements. The analysis of the play by the Jára Cimrman Theatre shows that humour that mainly involves Czech identity can be interpreted but not translated. Both examples suggest two basic cultural barriers in translation: the language barrier and the barrier of tradition.

Translated Title: Groteskni lik v Gombrowiczevim romanu Ferdydurke v prevodu Katarine Šalamun-Biedrzycke / The grotesque character of Witold Gombrowicz’s Ferdydurke translated by Katarina Šalamun-Biedrzycka. Author Name: Marzena Osmólska, Instytut Filologii Słowiańskiej, Uniwersytet Śląski. Language: Polish. Issue: 2 (1)/2011. Page Range: 119-132. Klučne besede: Witold Gombrowicz, Ferdydurke v slovenskem prevodu, groteska, karakter, prevod.  Key words: Witold Gombrowicz, Ferdydurke in the Slovenian translation, grotesque, character, translation.

Povzetek: Groteskni lik v Gombrowiczevim romanu Ferdydurke v prevodu Katarine Šalamun-Biedrzycke Povzetek Groteska je estetska kategorija, ki ruši ustaljeno predstavo o svetu, predstavlja sestavljenost in tuje oblike pojavov, ki vzbujajo začudenje. Na Poljskem se je izraz groteska prvič pojavil na začetku XIX. stoletja kot izposojenka iz nemškega jezika. Raziskovalci književnosti in umetnosti XX. stoletja trdijo, da se je groteska v poljski književnosti pojavila ob koncu modernizma. Možen je tudi drugačen pogled, ki pravi, da je bila umetnost modernizma groteskna skoraj v celoti. Groteska v romanu Ferdydurke obsega vsa področja dela, tudi jezik. Ta groteskni jezik, ki ga med drugim zaznamujejo neologizmi, prepletanje patetičnega in pogovornega jezika, je lahko izziv za prevajalca. Pri oblikovanju grotesknega lika pomembno vlogo odigravajo deli telesa (npr. ritka in fris), ki imajo v romanu simboličen pomen. Pisatelj uporablja tudi neologizme in ruši besedni red, da bi dosegel grotesken učinek dogodkov. Prevajalka si je prizadevala, da bi v prevodu ohranila enako sliko grotesknega lika, čeprav ni mogla včasih premagati jezikovnih ovir. Ohranila je enak pomen na leksikalnem in skladenjskem področju. Prevajalka oponaša skladenjske strukture izvornega besedila ali uporablja druge slovnične kategorije. Vsak prevajalec namreč mora ohraniti v prevodu enak model sveta.

Summary: The grotesque is an aesthetic category, which undermines the conventional and acknowl­edged image of the world, illustrates the complexity of certain phenomena and their other sur­prising aspects. In Poland the term „grotesque”, being a calque from German, was first used at the threshold of the 19th-century. However, according to the Polish 20th-century literature and art researchers, grotesque becomes prominent in Polish literature on the verge of modernism. The assumption that modernist art had an almost entirely grotesque character cannot however be ruled out. Grotesque manifests itself in the novel Ferdydurke on each level of the work, including language. The grotesque character of the language is shown among other things through ne­ologisms and a mixture of pompous and colloquial style. Body parts (such as bottom and mug), having a symbolic meaning throughout the novel, play an important part in giving the figures their grotesque character. The language of the novel may undoubtedly constitute a problem for the translator, as the writer uses neologisms and disturbs the word order to achieve a grotesque character of events. The translator tried to deliver an identical image of the grotesque character in her translation. Frequently, the translator couldn’t however disturb the correctitude of the Slov­enian language. She preserves the sense of the original on the lexical and syntactic level through imitating the syntactic structures of the original or through replacing them with other grammati­cal categories. Each translator must recreate the model of the world embedded in the source text.

Translated Title: Prekoračajući granice Pitanje prijevoda psovki i vulgarizama / Crossing the borders Problems of curses and vulgarisms translation. Author Name: Paulina Pycia, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, paulina.pycia@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 135-148. Ključne riječi: vulgarizam, tabu, prijevod, ekvivalencija, Vedrana Rudan; Key words: vulgarism, taboo, translation, equivalence, Vedrana Rudan.

Sažetak: U radu se analizira problem tabu riječi koje se definiraju kao psovke i vulgarizmi te njiho­va upotreba i prijevod. Izvor analiziranih tabu riječi je roman Vedrane Rudan Uho, grlo, nož i njegov poljski prijevod Ucho, gardło, nóż. Istraživani diskurs je zapravo idiolekt glavnog lika — žene, što je jako iznenađujuće i interesantno. Analiza opisuje vrste tabu riječi i izraza te različite metode njihovog prevođenja. Istraživanje dokazuje da se vulgarizmi upotrebljavaju puno češće u hrvatskom tekstu, dok su u poljskom prijevodu, u većini primjera, eufemizirani ili igno­rirani.

Summary: In this article the problem of taboo words, defined as curses and vulgarisms, appearing and translating is analysed. The source of investigated taboo words is Vedrana Rudan’s novel titled Uho, grlo, nož and its Polish translation Ucho, gardło, nóż. It’s surprising and interesting that the investigated discourse is basically character’s idiolect — woman’s idiolect. The analysis de­scribes the types of taboo words and expressions and presents various methods of their transla­tion. It proves that vulgarisms occur in the Croatian text more frequently and in the Polish one they are in most cases euphemized or ignored.

Translated Title: Dieťa ako odberateľ prekladov Winnie-the-Pooh A.A. Milne’a do poľského a slovenského jazyka / Children’s recipient in translations of Winnie-the-Pooh by A.A. Milne into Polish and Slovak. Author Name: Sylwia Sojda, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, sylwia.sojda@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 149-163. Kľúčové slová: detský recipient, honorifikativnósť, zdvorilosť, zdrobneniny, hypokoristiká: Key words: children’s recipient, honorification, deminutives, hypocoristics, behavitives.

Résumé: Príspevok sa zameriava na popis a analýzu poľských a slovenských prekladov detskej knihy A.A. Milne’a Winnie-the-Pooh zo prihľadnutím na kategóriu honorifikativnósti, ktorú do poľ-skej jazykovedy zaviedol Romuald Huszcza. Determinantmi tejto kategórie sú zdvorilostné frá­zy obracania sa na účastníka komunikácie: pozdravy na privítanie a rozlúčenie, poďakovania, prepáčenia, zdrobneniny a hypokoristiká.

Summary: The paper presents a comparison of Polish and Slovak translations of A.A. Milne’s book Winnie-the-Pooh, made by Irena Tuwim, Monika Adamczyk-Garbowska, Margita Príbusová and Stanislav Dančiak. The main object is to show determinants of honorification in the children’s style in compared languages: behavitives, adressative forms, deminutives and hypocoristics. The author also focuses on problems connected with the translation of plays on words, short rhyme poems and children’s songs.

Translated Title: Kultúrne bariéry v slovenskom preklade Ferdydurke Witolda Gombrowicza / Cultural barriers in the slovak translation of Witold Gombrowicz’s Ferdydurke. Author Name: Marta Buczek, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, marta.buczek@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 164-183. Kľučové slova: Witold Gombrowicz, Ferdydurke, umelecký preklad, poľská literatúra v slo-venskom preklade, kultúrne bariéry v preklade; Key words: Witold Gombrowicz, Ferdydurke, translation, polish literature in Slovak translations, cultural barriers in translation.

Résumé: Príspevok predstavuje problém kultúrnych bariér v slovenskom preklade románu Ferdydur­ke Witolda Gombrowicza, ktorý bol publikovaný v novom prijímacom horizonte v roku 2004. Roman bol preložený dobré známym slovenským prekladateľom Jozefom Marušiakom. Autorka článku popisuje prekladateľské stratégie, ktoré boli využité prekladateľom, aby prekonať kultúr­nu bariéru a rekonštruovať cudzie mentálne mechanizmy vpísané v cudziu kultúru. Používané v procese reinterpretácie významov originálu stratégie sú: stratégia doslovnosti, ktorá sa spája so stratégiou neutralizácie cudzích kultúrnych faktorov. Otázkou sa stáva, čí je možne preložiť komplikovanú prózu Witolda Gombrowicza do slovenčiny a reinterpretovať implikované v texte kultúrne faktory, čí nie sú bariérou v procese prekladu.

Summary: The article presents the problem of cultural barriers in Slovak translation of Witold Gom­browicz’s Ferdydurke which was published in a new translation horizon in 2004. The roman was translated by a very well known Slovak translator — Jozef Marušiak. The author of the article shows the translation strategies which were used by him to overcome cultural barriers and re­construct foreign mental mechanisms as part of different culture. The strategies exploited in the process of reinterpretation of the original meanings were the literal strategy combined with the strategy of neutralization of foreign cultural facts. The question is if it is possible to translate complicated prose of Witold Gombrowicz to Slovak and reinterpret implicated in the original text cultural facts and whether they constitute the cultural barrier in the process of translation.

Translated Title: Kultúrna blízkosť a preklad v okruhu poľskej a slovenskej literatury / The proximity of culture and literary translation within Polish and Slovak. Author Name: Lucyna Spyrka, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, lucyna.spyrka@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 184-199. Kľučové slová: translacia, kultúrna blízkosť, poľská, slovenská kultúra, literatúra, literárna recepcia. Key words: translation, cultural proximity, Polish, Slovak culture, literature, reception.

Résumé: Translatologický výskum spravidla sa sústreďuje na problémoch spojených s prekladom v okruhu jazykov a kultúr priemerne vzdialených. Vo všeobecnom presvedčení Poliakov sloven­ská kultúra je poľskej blízka. Podľa najnovších antropologických koncepcií ako kultúru blízku sa považuje takú, ktorá v prijímacom okruhu je dobré známa a akceptovaná a vzhľadom na stupeň záujmu o ňu zostáva v centrálnom postavení v porovnaní s ostatnými cudzími kultúrami. Sloven­ská kultúra je v Poľsku malo známa, nie je o ňu záujem, dá sa teda povedať, že je to len sused­ská kultúra. Takéto postavenie sa prenáša na počet uverejňovaných prekladov literárnej tvorby z južnej strany Tatier a na jej recepciu. Zase presvedčenie o blízkosti slovenskej kultúry voči poľskej sa nadpisuje na pociťovanú podobnosť jazykov, čo ovplyvňuje kvalitu prekladov. Roz­diely a odlišnosti v oblasti kultúry sa odzrkadľujú v jazyku a zapríčiňujú rôzneho druhu ťažkosti v procese translácie: v oblasti prekladu vlastných mien, slov — reálií, frazeologických spojení, vo spoločenských zvykoch, textových konvenciách, literárnych prúdoch a smeroch. Pozorovanie týchto ťažkosti vedie ku konštatácii, že napriek všeobecnému presvedčeniu o blízkosti poľskej a slovenskej kultúry preklad v okruhu týchto literatúr je plný problémov spôsobených kultúrnou odlišnosťou. Riešenia týchto ťažkosti prijímané prekladateľmi nasvedčujú tomu, že príliš často podliehajú ilúzii kultúrnej blízkosti a preklady neplnia svoje funkcie, ktoré im patria v poľsko-slovenskom interkultúrnom dialógu. Presvedčenie o kultúrnej blízkosti je jedna s najdôležitejších prekážok v preklade

Summary: Translatological research generally focuses on problems of translation in the languages and cultures with the average distance between each other. For Poles the common perception is that the Slovak culture is close to the Polish one. According to the latest anthropological concept the culture is considered close when in the receiving area it is well-known and accepted and interest in it puts it in a central position in comparison with other strange cultures. Slovak culture in Poland is little-known, does not attract the interest, so it can only be described as a neighbourly. Such a position of Slovak culture in Poland is reflected in the number of published translations of Slovak literature and their reception. The belief that Slovak culture proximity to the Polish one is applied to the perceived similarity of languages which affects the qual­ity of translation. Differences and dissimilarities in culture are reflected in the language and cause various types of obstacles in the process of translation: in the translation of names, words-realities, collocations, social behaviors, conventions of text, literary trends and currents. Observation of these difficulties leads to the conclusion that contrary to popular belief about the proximity to the Polish and Slovak cultures translation within these literatures poses many problems caused by cultural differences. Solutions of these difficulties adopted by translators, demonstrate the fact that translators yield to the illusion of proximity of cultures. Translations do not perform their functions belonging to them in the Polish-Slovak intercultural dialogue. The belief in the cultural proximity is one of the most significant barriers in translation.

Translated Title: Poljski frazemi v slovenskih prevodih pesmi Vislave Szymborske / Polish idioms in Slovenian translations of Wislawa Szymborska poems. Author Name: Katarzyna Baran, Instytut Filologii Słowiańskiej, Uniwersytet Śląski. Language: Polish. Issue: 2 (1)/2011. Page Range: 200-215. Klučne besede: idiomi, poezija, prevod, modifikacije idiomov, Wisława Szymborska; Key words: idioms, poetry, translation, transformations of idioms, Wislawa Szymborska.

Povzetek: Frazemi so pogosto uporabljeni v poljski poeziji. Zaradi svoje ekspresivnosti in sprejemlji­vosti za pesniške operacije, postajajo objekti besednih iger. Szymborska pogosto uporablja fra­zeološke modifikacije, kot so: kontaminacija, odstranitev člena, substitucija. V njeni poezji so frazemi ali frazeološke modifikacije nosilci ironije in humorja, omogočajo intelektualno distan­ciranje in čustveno zadržanost. Prevod frazemov je problematičen zaradi njihove ekspresivnosti, simboličnosti in večpomenskosti. V frazemih je skrita jezikovna podoba sveta določene kulture, ki zahteva od prevajalca odkritje in interpretacijo. Večina frazemov in njihovih modifikacij, ki se nahajajo v poeziji Szymborske, ima svoje ekvivalente. Ko jih ni, prevajalci lahko izbirajo eno izmed naslednjih prevajalskih metod, kot so: uporaba svobodne besedne zveze, dobesedni pre­vod, amplifikacija. Ta sredstva povzročajo leksikalne in stilistične spremembe, ki ne vplivajo na kakovost prevoda. Te spremembe so povezane z dejstvom, da zaradi konfrontacije med poljsko in slovensko kulturo nastajajo jezikovne in kulturne ovire. Jezikovne ovire se nanašajo na sistemske razlike med jeziki, vidni so zlasti v leksiki in sintaksi. Kulturne ovire so povezane z raznovrstno stopnjo vpliva nemške in francoske kulture na poljsko in slovensko območje in tudi z načinom izražanja ironije. Vloga prevajalca temelji na posredovanju med dvema kulturama. Prevajalec mora ugotoviti, kako naj premaga jezikovne in kulturne ovire.

Summary: Idioms are often used in polish poetry. Due to their expressiveness and vulnerability for lin­guistic operations they are subject to different language games. Szymborska often uses transfor­mation of idioms such as: contamination, removing of element, substitution. In her poetry idioms and their modifications are carriers of irony and jokes, they allow to preserve the intellectual and emotional distance restraint. Translation of idioms is problematic because of their expressiveness, symbolic recognition of world and ambiguity. In idioms is hidden a linguistic picture of world, which requires discovery and interpretation by an translator. Vast majority of idioms and their transformations occurring in the poems of Wislawa Szymborska has its own equivalents. In the case they doesn’t have their own equivalents, translators uses following techniques: free combi­nation of words, tracing, amplification. These techniques causes changes in vocabulary and style, but they doesn’t affect the quality of translation. These changes are related to collision of Polish and Slovenian culture, which causes language and cultural Barriers. Language barriers relate to systemic differences between the languages, are especially noticeable in vocabulary and syntax. Cultural barriers are associated with different degree of influence of German and French culture into Poland and Slovenia, and the expression of irony. The role of the interpreter is to mediate between two cultures, and establish methods to overcome cultural and linguistic barriers.

Translated Title: Дора Габе и Анна Каменска — поетически диалози / Dora Gabe i Anna Kamienska — poetic dialogues. Author Name: Adriana Kovacheva, Uniwersytet Adama Mickiewicza w Poznaniu. Language: Polish. Issue: 2 (1)/2011. Page Range: 219-233. Ключови думи: Българска поезия, преводaчески стратегии, ресептивни модели, преводач­ки, gender и превод; Key words: Bulgarian poetry, translation strategies, models of literary reception, women transla­tors, gender and translation.

Резюме: В настоящата статия поетическият диалог между двете поетеси и прeводачки е пред­ставен като разговор за майката — майката на жената като извор на нейното творчество. От тази гледна точка преводаческата практика на Дора Габе е описана като „модел на палимпсеста”, защото дава възможност за разширение на родния език така, че той да по­мести чуждия, а замазването на полския поетически текст е съпътстван с неговото наси­щане със собствени творчески сили. Тази преводна стратегия разбива стила на рецепция на полската поезия в България, налаган от Боян Пенев, превъзмогва нейните асиметрии, в които полската поетика винаги е виждана като доминираща. По-нататък преводите, на­правени от Блага Димитрова и Светла Гюрова са представени като продължение на па­лимпсестовите преводни практики, предложение от Дора Габе.

Summary: In this article poetic dialogues between the women poets and translators are represented as a conversation about the mother who is an inspiration for their artistic creativity. From this point of view the translation practice of Dora Gabe is described as palimpsest, because it gives the op­portunity for the language to expand so there is place for another, foreign language in its bounda­ries. In the process of erasing of the Polish source-text, the Bulgarian target-text is being fulfilled with translators’ creative energies. This translation strategy disrupts the stereotypical reception model of Polish poetry in Bulgaria, popularized by Boian Penev. It overcomes its asymmetrical patterns. Svetla Gurova’s and Blaga Dimitrova’s translations are analyzed as continuation of the palimpsest translation model, introduces by Dora Gabe.

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.).

Translated Title: Lica melankolije Ormar Olge Tokarczuk i njegov hrvatski prijevod / The Faces of Melancholy The Wardrobe by Olga Tokarczuk and its translation into Croatian. Author Name: Katarzyna Majdzik, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, katarzyna.majdzik@gmail.com. Language: Polish. Issue: 2 (1)/2011. Page Range: 252-266. Ključne riječi: melankolija, subjektivitet, psihoanaliza, prijevod, interpretacija; Key words: melancholy, subjectivity, psychoanalysis, translation, interpretation.

Sažetak: U članku se raspravlja o problematici melankolije, njezinim izvorima, mehanizmima te njezinoj suštini. Na osnovi priče Olge Tokarczuk pod naslovom Ormar te njezinog prijevoda na hrvatski jezik traži se odgovor na pitanja o odnosu melankolije i jezika, razmatra se umjetnost kao način borbe s nebitkom (pa tako i s melankolijom), ispituju se načini prisutnosti i postojanja melankoličnog subjektiviteta u tekstu. Kategorija melankolije (porijeklom iz psihoanalize) može poslužiti također za određivanje bića teksta, a posebno prijevoda. Rekonstruirana na osnovi Ormara melankolija je općekulturni (ili radije izvankulturni) fenomen. Univerzalnost melankolije i alegoričan karakter priče Olge Tokarczuk ukidaju barijere između kulture originala i prijevoda, upisujući ih u isti okvir što olakšava prevođenje. Glavni izvor kulturnih barijera su u tom slučaju jezične (osobito gramatičke) razlike.

Summary: The aim of this article is to illustrate the phenomenon of melancholy, its sources, mechanisms and modes of existence. Basing on The Wardrobe by Olga Tokarczuk and its Croatian translation the author tries to demonstrate a relation between melancholy and language, she considers the art as a kind of fight against nothingness (and melancholy) and explores the textual manifestation of melancholic subjectivity. A psychoanalytic approach to melancholy aids to determine the condi­tion of text (the translated text in particular). The image of melancholy reconstructed from The Wardrobe is a culture-independent phe­nomenon. The universalism of melancholy and the allegorical nature of Tokarczuk’s work remove barriers between original and translated text culture facilitating the act of translation. The main source of cultural barriers, in this case, are the linguistic (mainly grammatical) dif­ferences.