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TRANSLATIONSINCULTURE
11
Culturalmanipulationislikewisethesubjectofthenextchapter.In
“OpenSesame!TePolishTranslationsofTeTousandandOneNights
MartaMamet-Michalkiewiczdiscussesthetwentieth-centuryPolishtrans-
lationsofTeTousandandOneNights.Hercomparativestudyoftransla-
tionsofthebookrevealsitsshortcomingsandalsotheperipheralposition
inthepolysystemofPolishliterature.Mamet-Michalkiewiczindicatesthat
thepopularityofScheherazade’sstories,suchasaboutSinbadorAladdin,
doesnotprojectontoatleastsuperficialknowledgeofthebook.Undimin-
ishedfascinationwithTeArabianNightsandexotic-fairytale-likeOrient
istheresultofplethoraofchildren’sadaptationsofthebookandWalt
Disney’spopularproductions.Michalkiewicz,analysingthePolishtransla-
tionsofthebook,describestheprocessofCfairytalisation’ofTeTousand
andOneNightsinthePolishcultureandsignalisesaneedofretranslation
ofthework.
FromthefictionalworldofthetalesofTeTousandandOneNights
AgnieszkaPokojskamovesthereaderofthepresentvolumetothefictional
worldofJasperFforde.In“ProportionsoftheFamiliarandtheStrangein
JasperFforde’sFictionalWorld,fromthePerspectiveoftheReaderofthe
OriginalandthePolishTranslation”Pokojskaanalysesthedifcultiesof
translationandreceptionoftheTursdayNextbooks.Shesharesaconvic-
tionthattheabovedonotconstituteacontinuumbutdistinctcategories.
Analysingtheproportionsbetweenthefamiliarandthestrangeinthe
originalandthePolishtranslation,Pokojskanotessignificantdiferences,
concludingthatthereceptionofFforde’snovelsinthePolishtranslation
doesnothavethesameefectasintheoriginal.
Teissueofreceptionoftheoriginalandthetranslationisalsoraisedby
AgnieszkaAdamowicz-Pośpiechinthearticle“RevisitingG.B.Shaw’sMrs
Warren’sProfession.DiferencesinCulturalReceptionandTranslationin
England,theUnitedStates,andPoland.”Sheperceivestheplayasameans
ofpropagatingthethen-revolutionaryviewsontheroleofwomeninsoci-
ety.MrsWarren’sProfessionwascensoredtostiflesocialdebateinBritain
andtheUS.Adamowicz-Pośpiechjuxtaposesthedownrightcondemnation
oftheplayontheIsleswithitsreceptionandtranslationontheContinent
whichwasmuchmorefavourableandpopular.InPoland,thoughthe
dramawasnotcensored,nonethelessitsperformancewasabandoneddue
topoliticalandideologicalcauses.Tepaperoutlinesthediferencesofthe