Books by Agnieszka Adamowicz-Pośpiech
Conrad visited Poland in 1914, on the eve of World War I. He related his eventful sojourn in Crac... more Conrad visited Poland in 1914, on the eve of World War I. He related his eventful sojourn in Cracow and Zakopane in two short essays entitled 'Poland Revisited ' (1915) and 'First News' (1918). These narratives have been translated into Polish at various times by several diff erent translators and with diff erent purposes in mind. The aim of this article is to examine how Polish translators 'manipulated' the English texts in order to tailor them to a Polish readership and its contemporary 'horizon of expectations'.
Maximálna dĺžka: 20 000 znakov (vrátane medzier). V prípade prekročenia limitu o zaradení článku ... more Maximálna dĺžka: 20 000 znakov (vrátane medzier). V prípade prekročenia limitu o zaradení článku do časopisu rozhodne redakčná rada. Textový procesor: Microsoft Word Písmo: Times New Roman, veľkosť 11, riadkovanie 1,0 Poznámky pod čiarou: Times New Roman, veľkosť 10 Podčiarknutie: nepodčiarkovať text Abstrakt: je potrebné dodať anglický abstrakt k textu, max. 1500 znakov Kľúčové slová: k článku priložte zoznam kľúčových slov aj s anglickým prekladom Uveďte Vaše pracovisko a korešpondenčnú a e-mailovú adresu. Citácie v texte: Jazyk je komunikačný systém (SECO, 1998: 9); podľa Seca (1998: 9), jazyk je komunikačný systém. Bibliografia: uveďte kompletný zoznam citovaných zdrojov na konci článku, veľkosť 10. Tieto odkazy budú radené abecedne. Napríklad: BARTHES, Roland (1953): Le degrée zero de l'ecriture énoncés performatifs. Paris, Éditions du Seuil. BORGES, Jorge Luis (1969): Tajný zázrak. In: MORETIĆ, Yerko (ed.) Dni a noci Latinskej Ameriky. Bratislava, Spolok priateľov krásnych kníh, 363-369.
Translation in Culture, Oct 31, 2016
Conferences: Calls for Papers, Programmes by Agnieszka Adamowicz-Pośpiech
Periphery phenomenona (often unexploited and unseen in the origin/target culture) have been alway... more Periphery phenomenona (often unexploited and unseen in the origin/target culture) have been always aesthetically and epistemologically inspiring for artists. Not only in humanities can we see the growing interest in periphery as the phenomenon which is one of the consequences of the crisis of grand narratives in the postmodern world. Therefore, we would like to invite you to share with us your reflections on literary translation in the context of broadly understanding periphery in language, literature and culture, specifically regarding its aesthetical, philosophical, social and political nature. Periphery is an attribute of each literary translation. Translation is peripheral both for the source culture (its reception in other language and culture) and the target culture, especially for national-oriented, monolingual ones. It is particularly evident for the researcher of South Slavic and West Slavic languages, literatures and cultures in the context of translation and comparative studies that the periphery is the way of existence and the place of these cultures on the world literature and art map. Therefore, to begin our reflection on literary translation, we suggest to start from the most fundamental and general problems, from the localization of the periphery literatures in the literary system of particular nations/languages/communities. The position and the role of periphery literatures with regard to particular languages (narrow-range and wide-range languages) is historically changeable. On the one hand, it is interesting how periphery literatures translate each other, on the other hand, how they are translated into the wide-range languages, so unperiphery, because of their existence in the centre of the world cultural map. When we change the perspective and the direction of translation and when we will analyse translations from central languages, we can consider how these literatures function in translation into periphery languages, literatures and cultures, the role they perform and where is their place.
Papers by Agnieszka Adamowicz-Pośpiech
Routledge eBooks, May 31, 2024
Yearbook of Conrad Studies, Poland, 2023
Gustaw Herling-Grudziński (1919-2000) was one of those writers who chose Conrad as a guiding lite... more Gustaw Herling-Grudziński (1919-2000) was one of those writers who chose Conrad as a guiding literary fi gure throughout his peripatetic years as an émigré. In one of his interviews Herling-Grudziński elaborated on that choice: Why Conrad is close to me as a writer? Because I share his principles: to be faithful to yourself, to be loyal to the cause you have taken up. This is not my latest literary infatuation. I have appreciated the author of Lord Jim since I was a youth and I have remained faithful to him. When I read Conrad, I breathe a different kind of air. 1 Conrad became a primary author not only for Herling-Grudziński but also for an entire group of Polish men of letters. 2 They treated him not only as a source of inspiration, but also as a moral authority, especially during the extremely diffi cult times of the Nazi occupation, when he also became an unquestioned authority for the young soldiers of the Home Army (the military organisation of the Polish Underground). 3 Young people who took part in the Warsaw Uprising (1944) looked to Conrad's writings as a source of moral inspiration. 4 They valued Conrad's ethos, which for them subsumed such qualities as being faithful to oneself, the belief in human dignity and the struggle to preserve one's identity in the face of hostile forces. 5 There were heated 1 E. Sawicka. Widok z wieży [A View from a Tower]. Warszawa: Ofi cyna Wydawnicza MOST, 1997, 120. All the translations, unless otherwise noted, are by the author of this article. 2 For a thorough presentation of Conrad's infl uence upon Polish writers see S. Zabierowski.
Conrad visited Poland in 1914, on the eve of World War I. He related his eventful sojourn in Crac... more Conrad visited Poland in 1914, on the eve of World War I. He related his eventful sojourn in Cracow and Zakopane in two short essays entitled 'Poland Revisited' (1915) and 'First News' (1918). These narratives have been translated into Polish at various times by several diff erent translators and with diff erent purposes in mind. The aim of this article is to examine how Polish translators 'manipulated' the English texts in order to tailor them to a Polish readership and its contemporary 'horizon of expectations'.
During the years immediately after Poland regained its independence in 1918 the country could boa... more During the years immediately after Poland regained its independence in 1918 the country could boast few literary periodicals. One of them was Wiadomości Literackie (Literary News), which appeared for the fi rst time on 6 th January 1924 in Warsaw. Wiadomości Literackie serialized several translations of Conrad's work, including: "Dusza przeciwnika" ("The Character of the Foe" [collected in The Mirror of the Sea]), "Conrad w Krakowie w r. 1914" ("First News") and "Książę Roman" ("Prince Roman"). The present article focuses on one translation of "The Character of the Foe" by Józef Brodzki. It explores the strategies used by the translator to domesticate Conrad's text. These comprised explication, addition, substitution and omission-none of which, however, should be perceived as a limitation. On the contrary, these modifi cations served the purpose of introducing Conrad's maritime fi ction to the Polish reading public and were a necessary procedure during the early stages of his reception in Poland. They are in line with the Retranslation Hypothesis formulated by Antoine Berman. On the whole, Brodzki's translation is very effective and conveys the major features of Conrad's prose by using simpler sentences, paraphrases and neutral language.
'Typhoon' belongs to that group of Conrad's works which has experienced alternating fortunes at t... more 'Typhoon' belongs to that group of Conrad's works which has experienced alternating fortunes at the hands of critics'. At the very beginning it was classifi ed as an uncomplicated story, whose "preoccupations are nearly all on the surface […]. Thus 'Typhoon' requires no elaborate interpreting." 1 Jocelyn Baines believed that it was "one of Conrad's simplest, important tales, and has none of the ambiguous moral and philosophical overtones with which 'Heart of Darkness' or Lord Jim reverberate." 2 Frederick Karl wavered in his critical assessment of the novel, regarding it at one time as being "as dull as its hero MacWhirr," 3 and at another as "almost top-quality work." 4 Recent criticism has re-evaluated the novella as "a remarkable part of the Conrad canon," 5 and "an artistic feat of the highest order." 6 The earliest readings of 'Typhoon' remained within the limits of the realistic perspective and concentrated on Captain MacWhirr's heroic struggle with the storm. 7 Conrad, however, in the Author's Note-added to the volume after several years-encouraged not only a literal, realistic interpretation of the story, but also a symbolic one: 8
Bloomsbury Academic eBooks, 2021
Problem błędu w tłumaczeniach interesował wielu badaczy, którzy przez błąd językowy rozumieli odc... more Problem błędu w tłumaczeniach interesował wielu badaczy, którzy przez błąd językowy rozumieli odchylenie od normy (lub systemu języka)1. Starano się dociekać etiologii błędów2 oraz przedstawiano ich klasyfikację3. W niniejszym szkicu wszakże chcielibyśmy zwró cić uwagę na inny typ błędów, a mianowicie takich pomyłek, które występują już w oryginale i są celowo zamierzone przez autora. Zostaną one omówione na podstawie angielskiego tekstu Lorda Jima Josepha Conrada. Ich funkcja w oryginale jest dwojaka: albo charakteryzują mówiącego, albo oddają stosunek osoby relacjonu jącej do rozmówcy; niejednokrotnie te dwie role nakładają się na siebie. Błędy popełniają najczęściej cudzoziemcy (Niemcy, Francuzi, Szwedzi) oraz ludność kolonizowana. Celem niniejszego szkicu jest zestawienie oryginału z polskimi translacjami i przeanalizowanie, do jakiego stopnia tłumaczom udało się przełożyć adekwatnie wpad ki językowe fikcyjnych postaci. Adekwatnie oznacza wywołanie 1 Z obszernej literatury dotyczącej błędów językowych w przekładach podaję wy biórczo niektóre pozycje F.
We are all familiar with the well established Norton Critical Edition series (NCE) which for year... more We are all familiar with the well established Norton Critical Edition series (NCE) which for years has set the standard for scholarly and critical apparatus and which gives master interpretative keys in the reader's hands, being at the same time accessible for undergraduate students. Besides the readership comprises also scholars engaged in historical and textual research who can explore how, for example, Conrad transformed the sources, as well as teachers of short fi ction who will fi nd this volume an indispensable manual while preparing class discussions. Conrad's most important works have already been published in the NCE series including the authorative edition of Lord Jim by Thomas C. Moser and the comprehensive one of Heart of Darkness by Robert Kimbrough. This edition fi lls the gap between Conrad's novelistic masterpieces and his fi nest short stories. 1 The volume follows the well-proven format: annotated text, context, and criticism. The materials were thoughtfully chosen by John Gerard Peters, an eminent Conradian scholar who has authored
Między Oryginałem a Przekładem, 1970
Bloomsbury Academic eBooks, 2022
began his autobiographical project in 1908 not knowing exactly its scope, audience or even title.... more began his autobiographical project in 1908 not knowing exactly its scope, audience or even title. He outlined generally its content and the probable title to his literary agent, James B. Pinker: These are to be intimate personal autobiographical things under the general title (for book form perhaps) of the Life and the Art. They will tell in a measure my own story and as it were the story of my booksthey will be concerned with Polish life and life at sea, intimate thought and sensations. (emphasis added) 1 ANNALES NEOPHILOLOGIARUM 5 Rok 2011
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Books by Agnieszka Adamowicz-Pośpiech
Conferences: Calls for Papers, Programmes by Agnieszka Adamowicz-Pośpiech
Papers by Agnieszka Adamowicz-Pośpiech