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Numer 34 – Słowo i obraz w przekładzie 1

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2017 Następne

Data publikacji: 29.11.2017

Opis
Wersja anglojęzyczna Przekładańca elektronicznego została wydana przy wsparciu Narodowego programu Rozwoju Humanistyki 2012-2013.

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Orcid Magda Heydel

Redakcja numeru Agata Hołobut, Jakub Jankowski

Zawartość numeru

Marta Kaźmierczak

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 7 - 35

https://doi.org/10.4467/16891864PC.17.001.8207
The paper outlines a distinction between several allied notions related to intersemioticity, polysemioticity and translation, with examples pertaining to the indicated categories. It begins with an overview of how Roman Jakobson’s concept of intersemiotic translation has been re-interpreted and broadened to account for more types of transformations and new modes of expression. Secondly, non-identity of referentiality and transmutation is indicated. Next, the notion of intersemiotic complementation is proposed for the instances that involve adding a new code to an existing work rather than changing its code. A distinction is also drawn between intersemiotic translation and intersemiotic aspects or contexts of interlingual translation (of a polysemiotic work or a verbal text which refers to non-discursive media). It is emphasized that it is this last category that deserves the attention of translation scholars, and some particular areas of interest are enumerated.
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Jerzy Jarniewicz

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 36 - 52

https://doi.org/10.4467/16891864PC.17.002.8208
The article examines Catherine Anyango’s and David Zane Mairowitz’s graphic novel Heart of Darkness as an illustration of the differences between the unique possibilities of verbal and visual media. Conrad’s metaphor of Marlow’s story as a misty halo, interpreted here as an autotelic commentary on the text’s elusive meaning, is the starting point for a discussion of visual representations of indeterminacy, which Conrad conceptualizes in visual terms, equating understanding with seeing. Another issue raised is the place of the narrator in visual arts, made problematic by Conrad’s use of two narrators and the story-within-a-story device. It is also argued that the graphic novel, though a sequential medium, makes use of the spatial juxtaposition of images, which is not only the source of metaphors, but also creates the effect of simultaneity unavailable to verbal arts. 
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Michał Borodo, Magdalena Sikorska

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 53 - 69

https://doi.org/10.4467/16891864PC.17.003.8209
The article concentrates on the translation of visual literature in general and the translation of picturebooks in particular. It first discusses the specificity of this kind of literature and overviews the research on the translation of picturebooks, especially with regard to the various types of relationships between words and pictures and the ways in which such relationships may be transformed in translation. In the second part, the article focuses on the artistic output of Australian writer and illustrator Shaun Tan. It examines the Polish translations of two picturebook stories by this author, that is The Red Tree and The Lost Thing, published by Kultura Gniewu in 2014. The article emphasizes that a picturebook is a special kind of text in which the message is conveyed by interdependent words and pictures, which both contribute to communicating meaning that neither could express alone. Although seemingly simple to translate, a picturebook may nevertheless constitute a challenge for the translator. The article also sheds light on the translation of the words that are an integral part of illustrations, the result of the cooperation between translators, graphic artists and editors.
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Paweł Łapiński

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 70 - 87

https://doi.org/10.4467/16891864PC.17.004.8210
Translating picture books for children seems to pose a whole range of additional challenges that the translator would not necessarily have to deal with when working on fiction literature targeted at the adult reader. The traditional communication model which pictures the translator as a bridge between the author and the reader is here enriched by a new mediator (an adult reading to the child) and a parallel message (the visual content linked closely to the text).
The article is intended to detail some of the main aspects specific to translation of this type of literature. The corpus of examples is composed of French-language picture books for the youngest readers released recently in Poland.
Examples of translation excerpted from the corpus have been confronted with the visual content of the translated books to examine to what extent, in what situations and how exactly it may support the translator’s work or make it more complicated.
The analysis has shown that the main challenges which the translators have to face in such a situation can generally be divided into two groups. The first one contains problems relevant to all literary translations and resulting naturally from grammatical, syntactic or idiomatic differences between the French and Polish languages, which may be further complicated by the visual content accompanying the text. The second group consists of issues specific to illustrated literature that are connected, among others, to the visual literacy of the translator and the technical aspects of the publishing process, such as potential interference in the visual content of the original work.
The author proposes to define the specific conditions of the translator’s work with the term “accompanying translation”, which is intended to emphasize not only the indelible presence of the visual content accompanying the translator at work, but also the collective character of that activity.
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Jeremi K. Ochab

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 88 - 107

https://doi.org/10.4467/16891864PC.17.005.8211
This case study analyses the process of translation of a popular science (picture)book that originated from the Internet comic strip xkcd. It explores the obstacles resulting from the text-image interplay.
At the macroscale, while such institutions in Poland as the Book Institute or translator associations do develop standards and provide information on the book market and good (or actual) practices, they never explicitly mention comic books – the closest one can find is “illustrated books” or “others”. Additionally, popular science literature – uninteresting, one would say – is much less discussed than artistic translation (with due allowance for comic books and graphic novels) despite having a tradition of using words and images together. Thing Explainer does seem to use “other” translatory techniques: firstly, because the author decided to use only one thousand most common English words (a semantic dominant to be retained in Polish); and secondly, because the illustrations – from diagrammatic to extremely detailed – are an indispensable, though variably integrated with the verbal, medium of knowledge transfer. This paper focuses on the second aspect. Specifically, it discusses: rigorous requirements for text volume and location (exacerbated by the said 1000-word list); technical issues (including choosing typefaces, formatting text, modifying graphics etc.); overlapping responsibilities of the editors, the translator and the DTP artist; and unusual text-image relations (e.g. the image helping a translator decode what he actually translates).
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Hubert Kowalewski

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 108 - 126

https://doi.org/10.4467/16891864PC.17.006.8212
In many respects, the translation of comics presents challenges of the same kind as literary translation. For instance, in Art Spiegelman’s graphic novel Maus the author’s father speaks English with interferences from Polish, but how to translate this “Polglish” into Polish? In this case, the difficulty arises only on the level of language, but it is not hard to predict problems specific to this medium, i.e. resulting from the graphic character of the linguistic sign and the interaction between written words and non-linguistic graphic signs. For example, in Art Spiegelman’s In the Shadow of No Towers the English idiom “to drop the other shoe” can be translated into an equivalent Polish expression, but since such an expression does not mention a shoe, the semantic connection to the frame featuring a gigantic shoe falling on a panicked crowd, a metaphor of a terrorist attack, will be lost.
The analysis of translation problems can be formalized by means of Gilles Fauconnier and Mark Turner’s Conceptual Blending Theory. The theory allows for describing the content derived from various codes and semantic frames (linguistic and visual meanings, cultural scripts, etc.), which makes it suitable for describing complexities of the comics medium. For the purpose of this article, I distinguish three classes of problems pertaining to the translation of comics: problems related to the overlap of linguistic content and image, the overlap of written texts, and the overlap of different languages. The article poses questions rather than provides answers; it draws attention to problems without proposing definitive solutions. There are no universal and definitive answers in the art of translation, and technical limitations may prevent a practicing translator from implementing idealized solutions devised by a theorist. The theorist, however, can point out the complexity of certain problems and consequently the distinct character of comics translation in general.
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Michał Borodo

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 127 - 147

https://doi.org/10.4467/16891864PC.17.007.8213
The article concentrates on one of the most famous European comic book series and its Polish translations. Thorgal, a classic Franco-Belgian series created by the Polish comic book artist Grzegorz Rosiński and the Belgian scriptwriter Jean van Hamme, combines fantasy, science fiction and Nordic mythology and has gained a cult status in Poland. The translations of the stories about Thorgal Aegirsson have been published in Poland since the late 1970s, initially in installments in the comics magazine Relax and then as comic book albums. Since these translations are the work of several Polish translators, they often differ from one another, sometimes slightly and sometimes considerably. The purpose of the article is twofold. On the one hand, it examines the use of condensation techniques in the first Polish translations of Thorgal. As a result of textual condensation, some of the original meanings were simplified and the image of the main protagonist and certain cultural references were significantly modified. On the other hand, the article analyzes the relationship between words and images and focuses on the graphic metamorphoses of lettering in speech balloons in the subsequent translations of Thorgal. The article discusses these differences on the example of the selected comic book panels from the Polish translations of the album entitled Les trois vieillards du pays d’Aran [The Three Elders of Aran].
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Ewa Goczał

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 151 - 171

https://doi.org/10.4467/16891864PC.17.008.8214
The article analyses Piotr Sommer’s achievements in translation. The art of transfer is considered here as both the act of translation and revelation – joining translation of literary texts and their compilation in anthologies with scrutinizing particular writers and literary phenomena as well as the process of translation itself, and introducing a new transforming quality to native poetry. A translator-anthologist can be perceived from that perspective as a link between two literary cultures, and also as an initiator of changes and an independent creator who develops, in his own language and on his own conditions, a new canon of poetry. Even if it is a paradoxical avant-garde canon, it is all the more inspiring for innovative actions. 
The notion of American shot, used as a metaphor and figure of interpretation, is consolidated by limiting the materials to translations from New York poetsi – these are the most specific for the work and included in two significant books: Artykuły pochodzenia zagranicznego (1996) and the extended version O krok od nich from (2006). This perspective enables one to present poetry transfer as the art of registration (in a new language) and projection (in a new context) of textual reflections of literary imagination. The American poets are presented here against the background of Marshall Berman’s philosophical concept of modernism and within the framework of Marjorie Perloff’s critical and literary thought. The figure of John Ashbery, as the creator of the most eccentric and self-contained and, simultaneously, influential poetry, is moving towards centre stage here. Apart from the general recognitions concerning Sommer’s translation and compilation methods, the article includes in-depth analysis of one Ashbery’s poem, especially emblematic for the discussed issues. 
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Edyta Manasterska-Wiącek

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 175 - 183

The author discusses intertextuality of Leśmian’s poetry in Polish originals and their foreign language translations (mainly Russian and English, with some examples from Bulgarian and German), categorizing intertextual markers into increasingly narrowing cultural “circles” and discussing intercultural references in closely related or distant cultures. She also analyzes the implications of translation choices which invite or even enforce particular readings. Finally, she attempts to answer the question whether intertextuality is a source of untranslatability.
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Piotr Szymczak

Przekładaniec, Numer 34 – Słowo i obraz w przekładzie 1, 2017, s. 184 - 196

Now available in an excellent Polish translation, Michael Cronin’s Translation in the Digital Age (2013) tackles the seemingly impossible task of exploring some of the monumental shifts and transformations affecting the current translation landscape under pressure from digital technology. Though necessarily cursory and impressionistic (notable omissions include neural networks in machine translation or problems of online surveillance and tracking), Cronin’s ambitious book does an admirable job of conveying the complex intersections of digital technology and global economic, political, and cultural networks in a nuanced and thought-provoking way. Interestingly, this edition takes on an extra dimension as a translated work. Many of the problems of translation Cronin diagnoses from the perspective of English as a global language now appear in a subtly refracted light in the Polish context, inviting more reflection on problems of cultural centres and peripheries.
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Słowa kluczowe: przekład, intersemiotyczność, terminologia, kod semiotyczny, adaptacja, ilustracje, umuzycznienie, Joseph Conrad, powieść graficzna, przekład intersemiotyczny, sztuki wizualne, literatura wizualna, książki obrazkowe, przekład książki obrazkowej, relacja słowo-obraz, Shaun Tan, książka obrazkowa, przekład literacki, literatura dziecięca, alfabetyzm wizualny, przekład towarzyszący, komiks, książka obrazkowa, przekład literatury popularnonaukowej, przekład intersemiotyczny, praktyka wydawnicza, amalgamaty pojęciowe, przestrzenie mentalne, semiotyka kognitywna, Przekład komiksu, Thorgal, zabiegi kondensacyjne, relacja słowo-obraz, dymki komiksowe i typografia, Piotr Sommer, poezja bitników, wiersz projekcyjny, transfer poetycki, intertekstualność, przekład, poezja, Leśmian, Cronin, translation and technology, Web 2.0, translation industry, digital technology