Books by Joanna Studzińska
Wydawnictwo Naukowe UAM, 2019
Wisława Szymborska’s oeuvre has a universal dimension, but, like all sublime poetry, it is fused ... more Wisława Szymborska’s oeuvre has a universal dimension, but, like all sublime poetry, it is fused with the language it was created in. Phraseologisms (idioms) play a special role in the idiolect of the 1996 Noble Prize winner: their creative modification disputes seemingly obvious beliefs. Szymborska uses the diversionary potential of language and plays a refined game with conceptualizations – the task of the translators is to re-create this game.
The book consists of four chapters. The first deals with phraseologisms in the poetic text. A review of current research serves as a backdrop for the introduction of the concept of the phraseological trace, cognitivist in nature. The second chapter considers the place of phraseologisms in Wisława Szymborska’s poetry. The Poet’s work is identified as aporetic, apocryphal and ahierarchical – three characteristics in which phraseological modifications manifest their meaning-making potential.
The third chapter covers the systemic equivalence of phraseologisms according to the Conventional Figurative Language Theory (Dobrovol’skij and Piirainen 2005), as well as their textual equivalence considered within the framework of Cognitive Poetics and Cognitive Translation Studies. The fourth chapter presents a number of case-studies, assigned to the categories which are suggested for the analysis of the equivalence of the phraseological trace. The examples are taken from the poems of Wisława Szymborska and their Spanish translations. The aim of the juxtaposition of the original text and its translations is to pinpoint the differences in conceptualization and to determine their sources. The analyses of the phraseological traces in the translations of Wisława Szymborska’s poetry bring to light important conceptual differences between the source and target language material. Seemingly slight nuances prove to have great significance for the possible readings of a poem.
Bookmarks Related papers MentionsView impact
Papers by Joanna Studzińska
Przekładaniec, 2023
The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does h... more The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón's poetry into English, French and Polish, respectively. Each translator had at their disposal language matter with very distinctive characteristics. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. The English language afforded such a possibility much less frequently, and Polish, just once. As a result, the English and Polish translations are recreations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
Bookmarks Related papers MentionsView impact
Przekładaniec, 2021
The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only do... more The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme]or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators.
Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter of very distinct properties. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. English offered such a possibility much less frequently; Polish – only once. Therefore, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
International Journal of Lexicography, 2011
... Warszawa: Wydawnictwa Uniwersytetu Warszawskiego. 2009. 193 pages. ISBN 978-83-235-0444-3. Pr... more ... Warszawa: Wydawnictwa Uniwersytetu Warszawskiego. 2009. 193 pages. ISBN 978-83-235-0444-3. Price 39 PLN. Joanna Studzińska. Institute of Romance Languages Adam Mickiewicz University Poznań, Poland. joanna-studzinska{at}wp.pl. ...
Bookmarks Related papers MentionsView impact
Porównania, 2020
[English below]
W 1950 roku wybitny brytyjski matematyk Alan Turing zaproponował test określający... more [English below]
W 1950 roku wybitny brytyjski matematyk Alan Turing zaproponował test określający zdolność komputera do generowania zdań języka naturalnego. Komputer pomyślnie przechodził próbę, jeśli rozmawiający z nim za pośrednictwem ekranu człowiek nie był w stanie stwierdzić, czy jego interlokutorem jest homo sapiens, czy maszyna. Dziś dynamiczny rozwój komputerowych programów tłumaczeniowych skłania do pytań o możliwości maszynowego przekładu tekstu literackiego, w tym poetyckiego. Czy tłumacz elektroniczny może przełożyć wiersz tak, by odbiorca myślał, że przekładu dokonał człowiek? Jakie zjawiska językowe i tekstowe najbardziej demaskują sztuczną inteligencję translatora? Czy stworzony w ten sposób tekst można rozpatrywać w kategorii dzieła sztuki?
In 1950 the brilliant British mathematician Alan Turing proposed a test to determine the computer’s ability to generate natural language sentences. The computer passed the test if the human communicating with it by means of a screen was unable to discern if they were talking to another human or to a machine. Today the dynamic development of machine translation software makes us wonder about the possibilities of automatically translating literature, including poetry. Can a computer-generated translation pass for a human one? What linguistic and textual phenomena are most likely to expose the artificial intelligence of the translator? Can the computer-generated translation be viewed as a work of art?
Bookmarks Related papers MentionsView impact
Słowo z perspektywy językoznawcy i tłumacza, t. VII: Frazeologia z perspektywy językoznawcy i tłumacza, 2018
“The concept of the phraseological trace in the analysis of translations of contemporary Spanish ... more “The concept of the phraseological trace in the analysis of translations of contemporary Spanish poetry”
The article discusses the concept of the phraseological trace and applies it to the analysis of three 20th century Spanish poems ("***Pintor que me has pintado" by Juan Ramón Jiménez, "El aire libre" by Aquilino Duque and "El doble" by Gabriel Celaya) along with their translations into Polish. The aim of the analysis is to determine how the use of idioms (phraseologisms) by the poet and by the translator influences the poetic image.
Bookmarks Related papers MentionsView impact
Traducción y tradición literaria, 2015
El artículo presenta el concepto de la "huella fraseológica", aplicado al análisis de las traducc... more El artículo presenta el concepto de la "huella fraseológica", aplicado al análisis de las traducciones de la poesía de Wisława Szymborska al español.
Bookmarks Related papers MentionsView impact
Przestrzenie Teorii, 2016
The article introduces the concept of the phraseological trace – a tool for the study of modified... more The article introduces the concept of the phraseological trace – a tool for the study of modified and non-modified idioms (phraseologisms) in the poetic text and its translated version. It analyses Wisława Szymborska’s poems "Census", "Conversation with a stone" and "A speech at the lost-and-found", along with their translations into Spanish. The aim of the juxtaposition of the original text and its translations is to pinpoint the differences in conceptualization and to determine their sources.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Uploads
Books by Joanna Studzińska
The book consists of four chapters. The first deals with phraseologisms in the poetic text. A review of current research serves as a backdrop for the introduction of the concept of the phraseological trace, cognitivist in nature. The second chapter considers the place of phraseologisms in Wisława Szymborska’s poetry. The Poet’s work is identified as aporetic, apocryphal and ahierarchical – three characteristics in which phraseological modifications manifest their meaning-making potential.
The third chapter covers the systemic equivalence of phraseologisms according to the Conventional Figurative Language Theory (Dobrovol’skij and Piirainen 2005), as well as their textual equivalence considered within the framework of Cognitive Poetics and Cognitive Translation Studies. The fourth chapter presents a number of case-studies, assigned to the categories which are suggested for the analysis of the equivalence of the phraseological trace. The examples are taken from the poems of Wisława Szymborska and their Spanish translations. The aim of the juxtaposition of the original text and its translations is to pinpoint the differences in conceptualization and to determine their sources. The analyses of the phraseological traces in the translations of Wisława Szymborska’s poetry bring to light important conceptual differences between the source and target language material. Seemingly slight nuances prove to have great significance for the possible readings of a poem.
Papers by Joanna Studzińska
Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter of very distinct properties. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. English offered such a possibility much less frequently; Polish – only once. Therefore, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
W 1950 roku wybitny brytyjski matematyk Alan Turing zaproponował test określający zdolność komputera do generowania zdań języka naturalnego. Komputer pomyślnie przechodził próbę, jeśli rozmawiający z nim za pośrednictwem ekranu człowiek nie był w stanie stwierdzić, czy jego interlokutorem jest homo sapiens, czy maszyna. Dziś dynamiczny rozwój komputerowych programów tłumaczeniowych skłania do pytań o możliwości maszynowego przekładu tekstu literackiego, w tym poetyckiego. Czy tłumacz elektroniczny może przełożyć wiersz tak, by odbiorca myślał, że przekładu dokonał człowiek? Jakie zjawiska językowe i tekstowe najbardziej demaskują sztuczną inteligencję translatora? Czy stworzony w ten sposób tekst można rozpatrywać w kategorii dzieła sztuki?
In 1950 the brilliant British mathematician Alan Turing proposed a test to determine the computer’s ability to generate natural language sentences. The computer passed the test if the human communicating with it by means of a screen was unable to discern if they were talking to another human or to a machine. Today the dynamic development of machine translation software makes us wonder about the possibilities of automatically translating literature, including poetry. Can a computer-generated translation pass for a human one? What linguistic and textual phenomena are most likely to expose the artificial intelligence of the translator? Can the computer-generated translation be viewed as a work of art?
The article discusses the concept of the phraseological trace and applies it to the analysis of three 20th century Spanish poems ("***Pintor que me has pintado" by Juan Ramón Jiménez, "El aire libre" by Aquilino Duque and "El doble" by Gabriel Celaya) along with their translations into Polish. The aim of the analysis is to determine how the use of idioms (phraseologisms) by the poet and by the translator influences the poetic image.
The book consists of four chapters. The first deals with phraseologisms in the poetic text. A review of current research serves as a backdrop for the introduction of the concept of the phraseological trace, cognitivist in nature. The second chapter considers the place of phraseologisms in Wisława Szymborska’s poetry. The Poet’s work is identified as aporetic, apocryphal and ahierarchical – three characteristics in which phraseological modifications manifest their meaning-making potential.
The third chapter covers the systemic equivalence of phraseologisms according to the Conventional Figurative Language Theory (Dobrovol’skij and Piirainen 2005), as well as their textual equivalence considered within the framework of Cognitive Poetics and Cognitive Translation Studies. The fourth chapter presents a number of case-studies, assigned to the categories which are suggested for the analysis of the equivalence of the phraseological trace. The examples are taken from the poems of Wisława Szymborska and their Spanish translations. The aim of the juxtaposition of the original text and its translations is to pinpoint the differences in conceptualization and to determine their sources. The analyses of the phraseological traces in the translations of Wisława Szymborska’s poetry bring to light important conceptual differences between the source and target language material. Seemingly slight nuances prove to have great significance for the possible readings of a poem.
Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter of very distinct properties. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. English offered such a possibility much less frequently; Polish – only once. Therefore, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
W 1950 roku wybitny brytyjski matematyk Alan Turing zaproponował test określający zdolność komputera do generowania zdań języka naturalnego. Komputer pomyślnie przechodził próbę, jeśli rozmawiający z nim za pośrednictwem ekranu człowiek nie był w stanie stwierdzić, czy jego interlokutorem jest homo sapiens, czy maszyna. Dziś dynamiczny rozwój komputerowych programów tłumaczeniowych skłania do pytań o możliwości maszynowego przekładu tekstu literackiego, w tym poetyckiego. Czy tłumacz elektroniczny może przełożyć wiersz tak, by odbiorca myślał, że przekładu dokonał człowiek? Jakie zjawiska językowe i tekstowe najbardziej demaskują sztuczną inteligencję translatora? Czy stworzony w ten sposób tekst można rozpatrywać w kategorii dzieła sztuki?
In 1950 the brilliant British mathematician Alan Turing proposed a test to determine the computer’s ability to generate natural language sentences. The computer passed the test if the human communicating with it by means of a screen was unable to discern if they were talking to another human or to a machine. Today the dynamic development of machine translation software makes us wonder about the possibilities of automatically translating literature, including poetry. Can a computer-generated translation pass for a human one? What linguistic and textual phenomena are most likely to expose the artificial intelligence of the translator? Can the computer-generated translation be viewed as a work of art?
The article discusses the concept of the phraseological trace and applies it to the analysis of three 20th century Spanish poems ("***Pintor que me has pintado" by Juan Ramón Jiménez, "El aire libre" by Aquilino Duque and "El doble" by Gabriel Celaya) along with their translations into Polish. The aim of the analysis is to determine how the use of idioms (phraseologisms) by the poet and by the translator influences the poetic image.