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1

Bal-kan means penis

100%

Goworski A.

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2012

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nr 2(9)

107-111

EN

The character of alter ego of Ivana Sajko – croatian playwright – in the text a „Bomb Woman“, sends e-mails with a question “What would you do if you had twelve minutes and thirty seconds more?” to her friends and receives twenty-one replies. Among the answers there are eleven male and ten female voices. In my opinion, the proportion between male and female voices may be a significant interpretational clue. Does not it prove that the author aimed at maintaining political correctness in the text? The aim of this paper is to indicate gender inclinations of the contemporary Balcan authors basing on, among others, the following texts: „Bomb Woman“ by Ivana Sajko, „The other letter from 1920“ by Muharem Bazdulj and „Sahib“ by Nenad Veličković. Is not the protagonist’s detonationreferring again to Sajko’s text – on the symbolic level, an attempt to break with the myths of woman-mother and woman-mistress? Moreover, my goal is to demonstrate that the decisions concerning social interactions taken by the characters of the discussed texts, may be explained in psychoanalysis criteria, e.g. Oedipus complex.

2

ATELIER DE TRADUCTION, No. 28/2017 « DOSSIER : Avez vous dit culturel? (II) Destination Beyrouth ». Sous la coordination de : Henri Awaiss, Muguraș Constantinescu. Editura Universității „Ștefan cel Mare” de Suceava, 2017, ISSN 1584-1804, 203 p.

88%

LAURIC(CERNĂUȚAN) Z.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2018

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tom 10

200-207

3

Gender identity in translation: the impossibility of transposing non-binary characters into Romanian

75%

Ivan A. M.

Forum for Contemporary Issues in Language and Literature

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2023

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nr 4

27-43

EN

The created world of Ada Palmer’s Terra Ignota series depicts a future society where gender identity has undergone a process of uniformisation, resulting in the erasure of gendered language. The novels take the form of a confessional (a recounting of the events of the past) which are published in the future society without the express consent of the other characters taking part in the depicted course of events. The narrator, in a motivated show of re bellion against their society’s current ideology (discussed both at the beginning of the series and as they progress with the narration), reinscribes gendered pronouns onto the unknowing characters; however, this is done on an arbitrary basis, which the narrator does not always discuss. The present paper aims to emphasize the growing number of LGBT+ novels published and the impossibility of transposing them into Romanian due to the lack of a gender-neutral pronoun that does not default to the masculine. The paper analyses Too Like the Lightning by Ada Palmer in order to specify the various nuances that would be lost in the cultural adaptation and translation of the novel into Romanian, a translation which has yet to occur, given the complexity and constraints of the novel and the depicted ideology behind it.

4

Hybrid humour as cultural translation: The example of Beur humour

75%

Bendi M.

The European Journal of Humour Research

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2019

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tom 7

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nr 2

EN

Humour is a phenomenon that is pervasive in the human heritage in all its different ethnic and cultural diversity; however, humorous effects might exceed the mere pleasure or laughter to serve as a strategy of survival. Hybrid humour has an important societal role in breaking psychological barriers between people as well as in denouncing dominant discourses, criticizing realities and promoting resistance. This paper investigates hybrid humour as cultural translation, particularly Beur verbal humour in France. The first section of this paper explores the notion of cultural translation. In the second section, in order to conceptualize humour from different angles, I attempt to highlight the main theories in Humour Studies. The third part is devoted to investigate the hybridization of cultures from a postcolonial perspective, and subsequently interpret the notion of hybrid humour as a translational act. Finally, I analyze a set of hybrid jokes made by the Franco-Algerian humourist Fellag.

5

Folkloorist kirjandusse ehk variatsioonid Rainisega lati ja eesti kultuuris

75%

Mihkelev A.

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tom 75

141-156

EN

Rainis (Jānis Pliekšāns, 1865–1929) was a very famous Latvian modernist writer of the beginning of the 20th century. His literary works are connected with Estonian culture via different motifs. Rainis’ texts, translated into Estonian, contain indications of double cultural translation, and thus constitute a very interesting case in European culture. The article analyses Rainis’ plays “Uguns un nakts” (Fire and Night, 1905), “Zelta zirgs” (The Golden Steed, 1909), “Pūt, vējiņi!” (Blow, Wind! 1914), and “Jāzeps un viņa brāļi” (Joseph and His Brothers, 1919). According to Latvian and Estonian researchers, Rainis’ play titled “The Golden Steed” drew on Friedrich Reinhold Kreutzwald’s fairy tale about a princess who slept for seven years. On the other hand, a story about a princess who slept on a glass mountain is well known in Northern Europe. Rainis also used motifs from the Estonian epic “Kalevipoeg” (Kalev’s Son) and the mythological story “Koit ja Hämarik” (Dawn and Dusk). The motif he used in his drama “Blow, Wind!” is the orphan motif from “Kalevipoeg”. Both the slave girl from the latter and Baiba from Rainis’ drama were orphans and had to work hard for their stepfamily. The orphan motif certainly points to several variants of the Cinderella story which have spread all over the world. The myth of Dawn and Dusk is a story by an Estonian writer, Friedrich Robert Faehlmann (1798–1850), which inspired both sculptor August Weizenberg and Rainis in the creation of their characters. The personification of the motifs of sunrise and sunset are repeated several times in Rainis’ play “Blow, Wind!”. There is a situation involving Baiba and Uldis, in which their passion becomes stronger and stronger, while it all ends with a farewell kiss from Baiba and her jumping into the water. Estonian writer Johannes Semper has analysed folk motifs in the “Kalevipoeg” and he sees its parallels with the Finnish epic “Kalevala” in this regard: the motif of the maiden who commits suicide by drowning is repeated several times in the latter. This reminds us of the story of Kullervo, who met a nice maiden on his travels and raped her. Next day it turned out that the girl was Kullervo’s sister, and the maiden drowned herself. According to Semper there were more tragic stories which implicate the epics: the story of Kalevipoeg and Saarepiiga in the epic “Kalevipoeg” and the story of Väinämöinen and Aino in the epic “Kalevala”. All these motifs are well known in Europe and have existed in national literatures for a very long time (cf. Ophelia in Shakespeare’s “Hamlet”). Rainis’ drama “Fire and Night” (1905), based on the Latvian epic “Lāčplēsis” (Bear Slayer, 1888), is probably the most significant symbolic work in Latvian literature. The drama demonstrates how literary symbols work in culture where the fundamentally new is created, and it is a process which contains the moment of explosion according to semiotician and literary scholar Yuri Lotman. All these symbols are dynamic, and it depends on the context and on the readers how these literary figures and texts are interpreted. Rainis’ symbols are polysemantic and one and the same symbol can change meanings several times within a play. The drama “Joseph and His Brothers” (1919) is based on a biblical myth and it is a neo-mythological literary work and also a cultural translation and transformation. The Bible functions as a metatext in Rainis’ text and in Latvian culture describing, via auto-communication, the Latvian culture itself. The Estonian translation functions in a similar way in Estonian culture because Latvian and Estonian cultural contexts are similar.

6

Polskie ekwiwalenty cerkiewnosłowiańskich nazw środków płatniczych i jednostek monetarnych w „Leksykonie supraskim” z 1722 roku - analiza leksykalna

71%

Bugajska M.

Polonica

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2017

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tom 37

91-103

EN

This paper contains a comparison of the Polish equivalents of monetary units occurring in “Leksykon supra - ski” with the headwords in Church Slavonic language and their source - the “Ostrog Bible”. The aim of the analysis was to answer the question whether the author of the Lexicon tried to give the meaning of tokens by literal translation (which could be incomprehensible to its users in eighteenth century), or through cultural translation. The anonymous author of “Leksykon supraski” was not able to select one method of explaining vocabulary related to monetary units, which has made the vocabulary related to this issue even more incomprehensible.

7

Dwa przypadki kulturowego przekładu Owidiusza: Juliusz Bocheński, Nazo poeta i Christoph Ransmayr, Die letzte Welt

63%

Dąbrowski M.

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tom 5

p. 85-104

EN

The article presents two different cultural references to Ovid’s Metamorphoses. Both texts have the features of the postmodern aesthetic; however, Ransmayr assigns the historiosophical meaning to his novel, whereas Bocheński – political. The analysis introduces the process of the reactivation of a hypotext in the culture of the late twentieth century.

8

Možný vliv Wilhelma Diltheye na tvorbu a myšlení Josého Maríi Arguedase

63%

Tereza Kalkusová T.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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tom 32

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nr 65

9-24

EN

The paper examines the potential influence of Wilhelm Dilthey on the works and thought of the Peruvian writer and ethnologist José María Arguedas. In 1953 Arguedas opened his ethnological article “Mountains in the Process of Peruvian Culture” with a quote from Dilthey’s book of essays Experience and Poetry (1910). Despite the fact that the two authors are distant in space and time, their hermeneutic approach and, above all, their faith in art as the highest possible form of knowledge, brings their reflections together. Dilthey’s triad experience — expression — understanding, which forms the core of the chosen quote, expresses the essence of art and its value: beauty, honest judgment, an authentic descent into the depth of linguistic expression and cultural identity. The three concepts also summarize Arguedas’s lifelong efforts to use art to make the underestimated Quechua and mestizo cultures a legitimate part of modern Peru and art in general.

9

Narratives of Arab Anglophone Women and the Articulation of a Major Discourse in a Minor Literature

63%

Sarnou D.

International Studies. Interdisciplinary Political and Cultural Journal

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2014

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tom 16

65-81

EN

“It is important to stress that a variety of positions with respect to feminism, nation, religion and identity are to be found in Anglophone Arab women’s writings. This being the case, it is doubtful whether, in discussing this literary production, much mileage is to be extracted from over emphasis of the notion of its being a conduit of ‘Third World subaltern women.’” (Nash 35) Building on Geoffrey Nash’s statement and reflecting on Deleuze and Guattari’s conceptualization of minor literature and Gloria Anzaldua’s Borderland(s), we will discuss in this paper how the writings of Arab Anglophone women are specific minor and borderland narratives within minor literature(s) through a tentative (re)localization of Arab women’s English literature into distinct and various categories. By referring to various bestselling English works produced by Arab British and Arab American women authors, our aim is to establish a new taxonomy that may fit the specificity of these works

10

El Inca Garcilaso y sus proyecciones

63%

Barrera T.

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2016

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tom Special Issue: El mundo de la literatura

11-22

EN

The reading of Inca Garcilaso de la Vega faces the multiplicity of perspectives which emerge from his texts, and a number of discursive functions which create bridges between his cultural production and ours. His culture is defined by two coasts with his discourse moving between them; he adopts the position of a mediator in his cultural, creative, and translation practice. Inca Garcilaso emerges as an early model of a transplanted (transterrado) intellectual. His works unite the oral and the written, the indigenous lore, the memory of his ancestors alongside the narrations of the chroniclers and that of the conquistadors, all for the sake of an identity which he reclaimed with urgency. It is this plurality of cultures and lores which makes him enormously topical today.

11

Translating from Romanian to French the Fear in Fairy Tales

51%

Flutur I. G.

Lublin Studies in Modern Languages and Literature

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2020

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tom 44

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nr 1

DE

Der Artikel enthält das Abstract ausschließlich in englischer und französischer Sprache.

EN

In this article, we undergo a comparative analysis of emotions in translation, particularly fear, in a Romanian tale rendered into French. The apparent simplicity of children's literature and its translation hides several difficulties as well on the linguistic level, as on the socio-cultural one. Our corpus is composed of a tale of Ion Creangă, a writer known for Romanian children's literature, Capra cu trei iezi [The goat and her three kids], and the collaborative version of M. Stanciu Stoian and Ode de Chateauvieux Lebel (1931) and the version of Mariana Cojan Negulescu (1996).

FR

Cet article envisage l’analyse comparative des émotions en traduction, en particulier, la peur, dans un conte roumain rendu en français. La simplicité apparente de la littérature de jeunesse et de sa traduction cache plusieurs difficultés autant au niveau linguistique, que socio-culturel. Le corpus d’analyse consiste dans un conte de Ion Creangă, un auteur connu pour la littérature enfantine roumaine, Capra cu trei iezi [La chèvre et les trois biquets], et deux traductions : la version collaborative de M. Stanciu Stoian et Ode de Chateauvieux Lebel (1931) et la version bilingue de Mariana Cojan Negulescu (1996).

12

Causes and Sources of Millenarian Messianism of the Brazilian Sertões

51%

JAGŁOWSKI M.

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2017

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nr 20

225-243

EN

In the article, we ask about the reasons and sources of the religious-social revival, that appeared on the Brazilian back-lands (sertões) at the turn of the 19th and 20th centuries in the form of numerous millenarian and messianic movements and communities. There were different responses given on the questions of the reasons of phenomenon. In the first para-graph, we follow their evolution. In the next we consider that question from the perspective of the encounter of European culture with the cultures of the New World, understood as the process of the mutual interpenetration and the creation of a new religious mentality. In the final remarks, we make an attempt to determine the nature and extent of the relations in which the contents coming from different sources were constituting the religious and mental groundwork of the phenom-enon discussed.

ES

En el artículo preguntamos sobre las causas y fuentes del renacimiento religioso-social que tuvo lugar en los sertões bra-sileños en el cambio de los siglos XIX y XX, en forma de los numerosos movimientos y comunidades milenaristas y me-siánicas. Sobre la cuestión de las razones de este fenómeno se dieron diferentes respuestas. En el primer párrafo seguimos la evolución de las mismas. En la próxima consideramos esta cuestión en la perspectiva del encuentro de la cultura eu-ropea con las culturas del Nuevo Mundo, entendido como el proceso de la interpenetración mutua y la creación de una nueva mentalidad religiosa. En las observaciones finales tratamos de determinar la naturaleza y extensión de las relaciones entre los contenidos provenientes de las diferentes fuentes, constituidos el fundamento religioso y mental de los fenómenos discutidos.