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Sonet VIII Williama Szekspira w pieśniach Dymitra Kabalewskiego, Igora Strawińskiego i Pawła Mykietyna

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Dąbek K.

Kwartalnik Młodych Muzykologów UJ

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2017

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nr 2(33)

77-100

EN

The 8th Sonnet Music to hear by William Shakespeare belongs to socalled „procreation sonnets”, where the poet insists on a young man to marry and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last strophe, which does not serve anymore as a protective advice, but as a warning. The syndrome of the 8th Sonnet, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoricity and erotic ambivalence. The poem has found its musical interpretations in the output of the 20th century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expression wise distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of word-tone relations. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoricity of the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn (circle canon) analogies to an intellectual game and a net of complex literary metaphors in the poem can be found. (tłum. Iwona Sowińska-Fruhtrunk)

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Metafora ruchu i jej urzeczywistnienie w muzyce przestrzennej XX wieku

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Dąbek K.

Kwartalnik Młodych Muzykologów UJ

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2020

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nr 4(47)

177-196

EN

The article concerns the issue of experiencing spatial music. While discussing movement and space in music, Bohdan Pociej draws attention to two types of the spatiality of a musical work: the “inner” and “outer” spatiality.The first one comes from the nature of the sound material and the interaction of elements, it stays in the sphere of impressions, metaphors. The second one involves the physical parameters and the actual performance of the piece. The author notes that the works of composers of the 20th century tend to break through from the internal space, transforming it into the external one. The issue of the body as a centre is present in the works of Edmund Husserl, Yi-Fu Tuan, Edward Hall, and others. The metaphor of movement – concerning language and music – has become the subject of cognitive science. In the context of spatial music, the metaphorical level is combined with the physical level. During the performance of a composition, the listener may be have various relations with sound sources but always locates them concerning the location of their own body, which they treat as the centre. The two basic types of outer spatiality – the perspective of the observer and the perspective of the participant – correspond to the types of understanding of the metaphor of movement in music (internal spatiality) proposed by Steve Larson and Mark Johnson.

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Exigences formelles et transition semantique dans la traduction des chansons filmiques

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Dąbek K.

Roczniki Humanistyczne

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2018

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tom 66

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nr 5: Neofilologia

183-197

PL

Artykuł podejmuje problem zmian semantycznych w przekładzie piosenki filmowej. W odwołaniu do osiągnięć innych badaczy, zwłaszcza Tidtforda (1982) oraz Mayoral, Kelly i Gallardo (1988) autorka podkreśla specyfikę przekładu korpusu i krytykuje tradycyjne, tekstologiczne ujęcie tematu. Równocześnie wskazuje na rozbieżność teorii pragmatyczno-komunikacyjnej z praktyką przekładu. Poprzez analizę kontrastywną piosenek z dziesięciu wybranych filmów w czterech wersjach językowych (angielskiej, francuskiej, hiszpańskiej i polskiej) stara się wykazać brak oczywistego związku między koniecznością synchronizacji systemów komunikacyjnych z semantyczną i strukturalną wiernością przekładu. W celu ukazania ogólnych mechanizmów postuluje jednoczesną analizę korpusu mówionego i pisanego (dubbing i napisy), a także dywersyfikację uniwersów źródłowych. Ostatecznie zwraca uwagę na nadrzędną rolę tłumacza, posiadanych przezeń umiejętności i wiedzy w procesie autonomizacji translatu.

EN

The article undertakes an issue of semantic shifts in translation of soundtrack lyrics. In reference to the achievements of other linguists as Tidtford (1982) and Mayoral, Kelly, Gallardo (1988) the author stresses the specificity of the corpus translation and she criticizes a traditional textual approach in description of the subject. At the same time, she points out a contrariety between the pragmatic and communicative theory and the practice of translation. Through the contrastive analysis of the songs issued from four language versions of ten movies she attempts to reveal the lack of an obvious connection between the structural-semantic fidelity of translation and the necessity of synchronizing the communication systems. In order to raise the general mechanisms, she postulates parallel researches of the corpus, both oral and written (dubbing vs subtitling) and the variegation of source universes. Finally, she signalizes the primary role of the translator, his knowledge and capacities in the process of a translate’s autonomization.

FR

L’article aborde la problématique des changements sémantiques dans la traduction des chansons filmiques. En s’appuyant sur les considérations d’autres chercheurs, notamment celles de Tidtford (1982), Mayoral, Kelly, Gallardo (1988) l’auteur met en relief la spécificité de la traduction effectuée sur un corpus et elle critique l’approche textologique habituelle en tant que moyen d’analyse. En outre, elle indique la divergence entre la théorie pragmatico-communicationnelle et la pratique de la traduction. A travers une analyse contrastive des textes de dix films en quatre langues choisies (anglaise, française, espagnole et polonaise) elle tente de prouver qu’il n’existe pas de rapport évident entre la nécessité de synchroniser les voies de communication et la fidélité sémantique et structurelle de la traduction. Elle suggère aussi bien une analyse parallèle des corpus oral et écrit (doublage et sous-titrage) que la nécessité de diversifier des sources qui servent de point de départ pour les recherches traductologiques. Enfin, elle souligne le rôle des capacités du traducteur dans le processus d’autonomisation de traduction.

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Sonnet VIII by William Shakespeare in Songs of Kabalevsky, Stravinsky and Mykietyn

100%

Dąbek K.

Kwartalnik Młodych Muzykologów UJ

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2017

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nr 2(33) Eng

77-99

EN

Sonnet VIII Music to hear by William Shakespeare belongs to socalled “procreation sonnets”, where the poet insists on a young man to get married and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last stanza which does not serve anymore as a protective advice, but as a warning. The syndrome of Sonnet VIII, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoric and erotic ambivalence. The poem has found its musical interpretations in the output of the 20 th-century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expressively distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of relations between text and music. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoricof the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn (circle canon) analogies to an intellectual game and a net of complex literary metaphors in the poem can be found.