Wyniki wyszukiwania - Biblioteka Nauki

1

Tłumacz, emocje i przekład

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Tokarz B.

Poznańskie Studia Slawistyczne

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2015

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nr 9

EN

A translator, recreating the original, creatively stimulates her/his intellect, knowledge, senses and emotions. At the same time, s/he remains in agreement with the emotions presented in the original by assuming with respect to it the only ethically possible attitude, namely empathy. The presence of her/his own emotions in translation, such as sympathy or antipathy, is ethically unacceptable. Emotions occupy an important place in translation because of the difficulty regarding their linguistic transfer, interpretation of their function in the original, intercultural communication differences, and because of the attitude of the translator towards the original. Problems related to emotions concern the art of translation and the need for emotional detachment of the translator, who at the same time needs to maintain an empathic attitude towards the original. Emotions should be considered both on the internal level of the text (the original and the translation) and on the external one – the translator’s perspective.

2

Twórca - stereotyp - profilowanie, czyli literacka rzeczywistość alternatywna

100%

Tokarz B.

Przestrzenie Teorii

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2003

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nr 2

21-34

EN

The man lives in the culture built by him, which also includes stereotypes both created and used by the writer, belonging to the structure of the composition the stereotypes reference convention, scheme, model and cliché. They are forms of consciousness and as such they do not make a category in poetics, becoming closer to the rhetoric embodied by different shapes of thoughts. At the same time they are not shapes of thoughts, but rather forms of consciousness. Stereotypes are terms and phenomena on the border of humanities, such as myth or topos. They exist in the area of all culture. The community sanctions their presence, both positive and negative.

3

Wycieczki inferencyjne tłumacza z wyobraźnią w tle

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Tokarz B.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 23

29-48

EN

In a literary work, signals that trigger reader’s inferential excursions allow the reader’s imagination to identify with and control the represented world. They constitute an important element of sense-generating mechanism. Thanks to imagination, the translator imitates the inferential mechanism of the original on various level’s of the text’s structure, activating the imagination of the reader. The translator’s imagination is bi- or multivalent in having the linguistic-semiotic, literary, and cultural quality. Although it manifests itself in language, it goes beyond the boundaries of language. Imagination is a form of consciousness which has no object of its own, and a medium connecting a specific non-imaginary knowledge with representations. It constitutes a mind faculty shaped on the basis of sensory and mental perception. It is derived from individual principles of perception and cognition data processing. It usually requires a stymulus to activate the capabilities of the imagining subject. As a mind faculty, imagination is based on the mental capability common to all people, which is the ability to create chains of associations.Translator’s respect for inferential excursions in the original text is necessary for retaining the original meaning, regardless of whether they occur on the phonetic-phonological level (as in Ionesco’s The Chairs), or on the level of image-semantic and syntactic relations (as in translation of Apollinaire’s Zone), or on the level of syntax (as in translation of Mrożek’s short stories into Slovenian), or on the level of cultural communication (as in Slovenian translation of Gombrowicz’s Trans-Atlantic).

4

Przełożyć czy przetłumaczyć tekst literacki?

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Tokarz B.

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nr 38

325-338

EN

Tone Pretnar, in the translation of Jan Nepomucen Kamiński’s sonnets, created the illusion of the original by using his own poetic talent and a foreign word. Just as Kamiński used the word of Mickiewicz, so he used the word of Prešeren. However, he changed the communication purpose of the original text. Apart from the pastiche aspect, he gave the original a high poetic value, while revealing the aporia of the original’s autonomy.

5

Przygoda estetyczno-mentalna w przekładzie

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Tokarz B.

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nr 1

PL

Aesthetic-Mental Adventure of Translation Translation is an adventure. The desire to experience it exceeds all other translation motives. It is a desire of a rational, pragmatic, emotional and physical nature. Therefore, full normalisation of the principles of artistic translation constantly encounters difficulties. Outside the borders of the scheme there is something called talent and empathy, understood as a cognitive-affective phenomenon. The paradigm of desire is defined by: individual weaknesses, ambition, desire to communicate, to know and experience something so far unknown, and the interaction between them in the form of surprise, dazzlement, and even shock. KEY WORDS: translation, adventure, empathy, intercultural communication, creativity of the interpreter - Tone Pretnar

6

Absurd uciekającego bytu

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Tokarz B.

Przestrzenie Teorii

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2004

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nr 3-4

9-19

EN

At the onset of the 21 st century art and literature emerge as a consequence of two orders: the past, that is the 20th century, and the future, anticipated - by and large - on the basis of previous experiences. The artistic consciousness of the past century is determined by contradictions, such as empathy and distrust, reason and sensation, rationalism and metaphysics, the subject and the object, the whole and the fragment. Leaving out one element in any of such oppositional pairs either leads to frustration, or to dogmatism, while the acceptance of their simultaneity - results in the removal of permanent points of reference in the sphere in which humans, objects, phenomena and values exist. In the 20th century, the loss of faith and the hardships of the quest for one's own identity led to a situation marked by absurdity: it caused the escape of being. The body flees from the man, theatricality runs away tram the theater, literariness escapes letters, literary scholarship flies from literature. The lack of identity turns any being-bound quality into void - yet art, literature, culture and man continue to exist nonetheless, functioning by the principle of similarity and difference.

7

Świadomość formy w powieści Jacka Dukaja Inne pieśni

100%

Tokarz B.

Zagadnienia Rodzajów Literackich

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2014

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tom 57/114 z. 2

163-176

PL

Historia opowiedziana przez Jacka Dukaja w powieści Inne pieśni koncentruje się wokół kategorii formy jako porządku istnienia, myślenia, działania i postrzegania. Autor świadomie podejmuje Gombrowiczowską koncepcję Formy, uaktualniając ją w kontekście odkryć nauki i w filozofii, na co pozwala mu popularna i pojemna forma gatunkowa fantasy. Poza obecnością w powieści różnych konstrukcji gatunkowych jej struktura opiera się na mechanizmach mentalnych, którymi posługują się inne dziedziny poznania, fizyka i genetyka. W czasie lektury czytelnik dochodzi do przekonania, że forma stanowi zarówno odbicie mechanizmów poznawczych, jak i sama staje się narzędziem poznania i rozumienia. Powtórzenie schematu literackiego (np. gatunku) określa strategię twórcy i nie prowadzi do powstania kliszy, lecz jest innowacyjne poznawczo, artystycznie i estetycznie. Wykorzystując, wydawałoby się przeciwne rodowody (fantasy i ideę Formy Gombrowicza), Dukaj zawiera pakt z odbiorcą. Prowadząc go w labirynty ludzkiej świadomości, zawiesza niewiarę, by pobudzić pracę myśli lub zwielokrotnić jego życie w imaginacji powtórzenia.

EN

Jacek Dukaj’s prose is placed at the borderlines of literary genres, among science fiction, fantasy, saga, and forms of re-written, re-factional literature. It is governed by two mental mechanisms: the “game of make-believe” and the game with a reader and the philosophical awareness of Form. The creative re-writing occurring in the novel Other Songs is based on reference to the battle fought between Synthesis and Analysis from Ferdydurke by Witold Gombrowicz, to Aristotelean conjectures on Form and Matter, maybe also to Paul Dirac’s physics and the electronic visions of penetration and dispersal, which are revealed by the short story The Cathedral, adapted for the screen by Tomasz Bagiński.

8

Od dialogu do transgresji

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Tokarz B.

Przestrzenie Teorii

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2008

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nr 9

53-68

EN

The attitude of dialogue meant candour and creativity in the history of European cultures and literatures. It was reflected in the specific philosophical conceptions, in the alternative worlds which were brought to life, in the literary forms and in the art of creation. Its remarkable activation which took place in the 20th century is one of the characteristic features of that epoch. Dialogism denotes an interactive structure with a variable dominant considering the replicated side and the replicating one which participate in the dominant. They are submitted to constant semiosis. Aiming at agreement, dramatic tensions which arise as a consequence of the presence of the two sides may be reduced in accordance with the logic of acquiescence or retained in the perspective of the logic of contradictions. The conflict between agreement and selfunderstanding constitutes the drama which is the basis of all existence. It is transcended by the art - consequently by literature - in the transgressional processes, relativizing its own boundaries: ontological, aesthetic, structural and communication.

9

Zapotrzebowanie na przekład: dysponenci i wtajemniczeni

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Tokarz B.

Między Oryginałem a Przekładem

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2010

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tom 16

11-24

EN

Although there is a demand for translation in the Polish culture, not many titles of Slavic literatures are rendered, particularly of the literatures belonging to the so called small territorial scopes. The consequence of that issue is ignorance of other Slavic cultures and a simultaneous false conviction of a low value of their literatures. One cannot determine the reading interest or judge the literary output without knowing the output. The lack of involvement of editors in the translations of South Slavic and partially West Slavic literatures is, to a large extent, connected to the stereotypical thinking of Slavic literatures other than Polish. Despite the poor publishing offer within that scope, literary periodicals, limited publications and Internet publications publish works of Slovene, Croatian, Bulgarian, Serbian, Slovak and sometimes Macedonian writers and poets (Czech literature has the best position in Poland). The reasons of that state of affairs are very complex. They result from the comprehensiveness of the main characters of the translation: the author, the text, the translator and the reading audience, who are connected by the necessity for a continuous process of choice making.

10

Przygoda estetyczno-mentalna w przekładzie

100%

Tokarz B.

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nr 1

17-36

SI

Prevajalec in prevod sta pogosto označena metaforično (npr. prevajalec kot izdajalec, kanibal, kuhar, prevod kot uvoz avtorja in izvoz bralca, prevajanje kot širjenje obzorij ipd.), k tem oznakam želim dodati še eno: prevajanje kot dogodivščina prevajalca in bralca, prinaša jima zadovoljstvo, zadoščenje, razočaranje in muke. Prevajamo predvsem zaradi antropološke in obenem tudi sporazumevalne vloge prevoda. dogodivščina ni vezana le na potovanja, čeprav se ob pripravah na pot pogosto pripravimo tudi na nenavadna doživetja. od samega potovanja se razlikuje glede na racionalna, pragmatična, emocionalna in fizična pričakovanja. na pojem pričakovanje se vežejo lastnosti: šibke točke posameznika, ambicije, želja po sporazumevanju, spoznavanju in doživetju nečesa dotlej nepoznanega ter interakcija med njimi v obliki presenečenja, očaranosti in celo šokiranosti. V vsakem tipu prevoda je vsaj eden od elementov pomensko-predstavnega polja pojma »dogodivščina«. zaradi tega se posploševanje pravil (zlasti pri umetniškem prevodu) nenehno srečuje s težavami, tako kot udeležba na tečaju ustvarjalnega pisanja ne naredi iz vsakega udeleženca pesnika, pisatelja ali dramatika. zmeraj je zraven tisto, čemur rečemo nadarjenost in empatija.

EN

The translator and translation are often referred to by means of metaphors (e.g. translator traitor, cannibal, cook, translation is the author’s import and the reader’s export, translation is a fusion of horizons, etc.), to which i will add another one: translation is an adventure for the translator and the reader, bringing joy, satisfaction, disappointment and suffering. We translate predominantly because of the anthropological, and thus the communicative, aspect of translation. adventure does not only mean a journey, although taking to the road, we very often expect extraordinary experiences. it is distinguished from the road by means of a desire of rational, pragmatic, emotional and physical nature. The paradigm of desire is defined by: individual weaknesses, ambition, desire for communication, knowledge and experience of something so far unknown and the interaction between them in the form of surprise, dazzlement, and even shock. all types of translation include at least one of the elements of the semantic-imagery field of the phenomenon and the word adventure. This results in that the normalization of rules (especially in the case of artistic translation) often meets with difficulties, just as not every participant of creative writing course is turned into a poet, writer or dramatist. There remains the ‘something’, which is called talent and empathy.