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4 Studia Translatorica

4 Gąska M.

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Der indirekten Translation auf der Spur – Koelie von Madelon Székely-Lulofs in polnischer Übersetzung

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Gąska M.

Studia Translatorica

2020

nr 11

9-26

The present article deals with the indirect translation, which is conceived by many translation theoreticians as an inadvisable practice. The aim of the paper is to prove that the Polish rendering of the novel “Koelie” by the Dutch writer Madelon Székely-Lulofs is in fact an indirect translation. The case study draws on a triangulation method consisting of peritextual, epitextual and comparative analysis. The epitextual analysis enabled to advance a hypothesis, that the translator of the novel into Polish – Herminia Bukowska – might have rendered indirect either via the German or English version. On the basis of the comparative analysis of the source text with its renderings into German, English and Polish carried out with regard to the so-called third culture elements, was it possible to verify this hypothesis. The comparison revealed quite a few unambiguous similarities between the Polish and German rendering in the translators’ approach in relation to the mentioned translation units, which in turn differ from the source text.

Literarische Einbettung von Fachsprachlichkeit als Herausforderung für den Übersetzer

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Gąska M.

Studia Translatorica

2020

nr 11

203-207

Clements, Rebekah (2015): A Cultural History of Translation in Early Modern Japan. Cambridge University Press. 275 S.

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Gąska M.

Studia Translatorica

2019

nr 10

407-412

Orientalizmy jako elementy trzeciej kultury w tłumaczeniu „Sonetów krymskich” na język niemiecki

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Gąska M.

Studia Translatorica

2019

nr 10

205-221

“The Crimean Sonnets” written by Adam Mickiewicz, which are the literary fruit of the poet’s journey to the Crimea, express his admiration of the peninsula, which the poet called “the East in miniature”. The fascination with the Orient in the Crimean cycle manifests itself not only in applying oriental motifs, which were taken from Arabic or Persian literature, but also in rich vocabulary referring to elements of Turkish, Arabic, Tatar, and Persian culture. Given the fact that in the translation process of “The Crimean Sonnets” from Polish into German these elements are foreign to both the source and target culture, they can be defined as the third culture elements according to Dorota Urbanek. The purpose of this article is to analyse translation techniques used to convey selected orientalisms in “The Crimean Sonnets” in the rendering by Martin Remané and Dirk Strauch. The analysis of the techniques allows to determine whether the translators retained the local colour of the oriental Crimea by preserving the foreign elements or whether they tried to domesticate their rendering.