A BOY NAMED SUE BY MŁYNARSKI, OR MULTIMODAL FOREIGNNESS IN SINGABLE TRANSLATION Singable translation is beset with special translation challenges, which result primarily from the polysemiotic and multimodal nature of the verbo-musical text as well as from the nature and role of songs, especially those representing genres typical of popular music. Accordingly, songs are usually translated by means of adapting and domesticating strategies. Thanks to that, translated songs become acceptable elements of the target culture. However, this is not the golden rule. The aim of the article is to discuss the Polish translation of the song A Boy Named Sue, done by Wojciech Młynarski in 1970, following the strategy of foreignization. Foreign elements were introduced into all the layers of meaning of the musical text, which may prove that the concept of multimodality has been an ever-present feature of translation. The article also indicates the post-translation effect of the target text, which may have occurred thanks to the holistic approach to translation.
THINK ALOUD PROTOCOL IN TRANSLATING LITERATURE INTO POLISH SIGN LANGUAGE (PJM) This text attempts to demonstrate how the search for translation solutions can unfold in the process of translating a literary text from Polish into Polish Sign Language (PJM), on the example of the poem “Wywiad” (“Interview”) by Miron Białoszewski. For the purposes of the analysis of the poem, the think-aloud protocol (TAP) method was employed, which allowed for the tracking of the cognitive processes and difficulties encountered by the PJM translator. Using this method served to facilitate a deeper understanding of the original poem, including its associative, intertextual layers, and linguistic nuances. The conducted analysis allows to recognize the think-aloud protocol not only as an effective method for understanding the translator’s cognitive processes but also confirms that this type of work with the text should be an integral part of the translator’s preparation process for performing signed language translation.
RECEPTION OF TRANSLATIONS OF FRENCH LITERATURE IN POST-SECOND WORLD WAR POLAND (1945-1970): PRELIMINARY CONCLUSIONS, RESEARCH QUESTIONS, AND HYPOTHESES The article is an attempt to analyze the reception of Polish translations of French literature in the years 1945-1970. It focuses on press critiques of the translations in order to formulate preliminary conclusions regarding the projected reader of these books, to sketch the possible motivations of the translators and their publishers, the role of the translations in the social and political context of the time, their impact on the readers and the use the readers made of them.
TRANSLATION SERIES IN SONG – A CASE STUDY OF THE TRANSLATIONS OF CRACK OF DOOM BY THE TIGER LILLIES The Tiger Lillies, an alternative British band, enjoys considerable interest among Polish translators. This leads to the appearance of translations series including several variants of one song lyrics. This paper aims at discussing four translations of the song Crack of Doom. Starting with the concept of the translation series by Edward Balcerzan and critically assessing full applicability of Antoine Berman’s retranslation hypothesis in the field of song translation, I consider the diversification of the translations as a result of ‘appropriation’ in the sense proposed by Johan Franzon. The variations are thus seen as a result of the fact that the translators pursue different objectives, and the translations themselves – as an area of translational artistic expression rather than a dialogue with previous versions.
THE EPISTEMOLOGY OF TRANSLATION: A POLEMIC WITH EDWARD BALCERZAN This article is a response to E. Balcerzan’s [2022] proposal for an internal epistemology of literary translation. While valuable due to its original theoretical perspective, the author simultaneously considers it detached from current trends in translation studies. Balcerzan draws exclusively on the concepts and tools of structuralism, which is currently an insufficient approach. The author disputes the scholar’s identitarian definition of translation as a “re-edition of the original,” which prevents it from being understood as an epistemic transformation. She also proposes expanding his typology of textual structures using the concepts of polysystems [Even-Zohar 1978; 1990] and intertextual tools [Genette 1982].
