scholarly journals Polish, Romish, Irish: The Irish Translation of Quo Vadis?

2010 ◽  
Vol 5 ◽  
pp. 47-58
Author(s):  
Alan Titley ◽  
Keyword(s):  
Nobel Prize ◽  
Great Book ◽  
Literary Translation ◽  
Ancient Rome ◽  
English Version ◽  
Quo Vadis ◽  
Latin Culture ◽  
The Mind

During the height of literary translation into Irish in the 1920s, 30s and 40s, I can only think of two Polish books that were translated into Irish. One of these is Henryk Sienkiewicz’s famous Quo Vadis?, which helped him secure the Nobel Prize for Literature, and which has been translated into numerous languages, and made into several films or series of films for television. It was translated into Irish by An tAthair, or Fr. Aindrias Ó Céileachair (1883–1954) in 1935. There is a long journey from Henryk Sienkiewicz’s travels into the mind of ancient Rome and turning a vicious and genocidal Latin culture into a more civilised Polish, to an English version of this great book by an Irish-American linguist who himself collected stories and tales in Irish, to a learned priest who used the ingenuity of his own people, and particularly the native knowledge of a great storyteller, to fashion one of the finest translations that has been done into modern Irish. I am not sure what Sienkiewicz would have made of it, but I am sure he would have been very pleased.

scholarly journals Image in Translated Novels from English into Persian

2016 ◽  
Vol 6 (4) ◽  
pp. 50
Author(s):  
Gholam-Reza Parvizi
Keyword(s):  
Aesthetic Experience ◽  
Translation Studies ◽  
Literary Translation ◽  
Literary Studies ◽  
Theoretical Frameworks ◽  
Translation Strategies ◽  
The Aesthetic ◽  
The Mind

The question of image in literary studies and in recent years in Translation Studies is one of the most problematic innature. In the present study an attempt was made to define the nature of translating linguistic constructions – evokingimages in the mind of reader – in English novels and their rendered versions in Persian translations. In this studyseven types of images (visual, auditory, olfactory, gustatory, tactile, kinesthetic and organic) in two English novelsand their rendered versions in Persian were analyzed based on two theoretical frameworks, the first one is Jiang’sImage-Based Model to Literary Translation (2008) by which the nature of translation of images were examined andthe other is Chesterman’s translation strategies (1997) which help to systematize translation strategies adopted bytranslators in rewriting the images in English novels. The results have shown that in most of the cases the images thatare intended by original author have been changed in the translations, and the aesthetic experience of the ST reader isdifferent from that of the TT reader.

Zu Geschichte, Theorie und Praxis der Bühnenübersetzung. Am Beispiel von Corneilles Komodie "Le Menteur"

2018 ◽  
pp. 367-398
Author(s):  
Rainer Kohlmayer
Keyword(s):  
Literary Translation ◽  
Original Version ◽  
Original Text ◽  
Translation Theory ◽  
English Version ◽  
Suspension Of Disbelief ◽  
Verse Form ◽  
Theorie Und Praxis

After a brief summary of Herder’s enormous influence on literary translation in Germany (translation restores the specific orality of the original text) the essay points out five fundamental criteria that obtain when translating for the stage: Orality, Individual speech of dramatis personae, Relations between persons (as subtext), Necessity of immediate audience comprehensibility (as opposed to the readers’ situation), Theatricality / Fictionality with its typical „suspension of disbelief ” (Coleridge). These criteria are then applied to Pierre Corneille’s comedy Le menteur, written in Alexandrines, the characteristic verse form of French classicism. The original version of 1643 is compared to the verse translations by Goethe (1767), Bing (1875), Schiebelhuth (1954), Kohlmayer (2005), with a side glance at Ranjit Bolt’s English version of 1989. The ease with which young Goethe renders the classicist form of the original into colloquial German is contrasted by Schiebelhuth’s stilted ‚foreignizing’ of the text. The explanation offered is the (fatal) influence of Schleiermacher’s well-known translation theory of 1813, with its categorical preference of foreignizing, in contrast to domesticating (in Venuti’s terminology).

scholarly journals As traduções e as adaptações para o inglês de Ali Babá e os quarenta ladrões nos séculos XVIII e XIX

2019 ◽  
Vol 72 (2) ◽  
pp. 153-170
Author(s):  
Daniel Padilha Pacheco Da Costa
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Literary Translation ◽  
English Version ◽  
French Version ◽  
Early Eighteenth Century ◽  
Editorial Procedures

This paper aims to reconstruct of the editorial tradition which began in the early eighteenth century with the first English version of Ali Baba, and the forty thieves. During the next two centuries, this version gave origin to a great number of editions and adaptations into English, which were directly or indirectly mediated by Antoine Galland’s French version, who was responsible in the first place for introducing this tale into the Arabic compilation known as The Thousand and One Nights. It is our intention to analyze the different literary, translation and editorial procedures used by the agents involved in the tale’s popularization, since its indirect translation into English until its adaptation into the different formats of chapbooks published throughout the nineteenth century.

General AI

2020 ◽  
pp. 194-206
Author(s):  
Stephen K. Reed
Keyword(s):  
Artificial Intelligence ◽  
Standard Model ◽  
Nobel Prize ◽  
Cognitive Skills ◽  
General Purpose ◽  
Intelligence Tests ◽  
Grand Challenges ◽  
Wide Range ◽  
The Mind

People use their cognitive skills to solve a wide range of problems whereas computers solve only a limited number of specific problems. A goal of artificial intelligence (AI) is to build on its previous success in specific environments to advance toward the generality of human level intelligence. People are efficient general-purpose learners who can adapt to many situations such as navigating in spatial environments and communicating by using language. To compare human and machine reasoning the AI community has proposed a standard model of the mind. Measuring progress in achieving general AI will require a wide variety of intelligence tests. Grand challenges, such as helping scientists win a Nobel prize, should stimulate development efforts.

Horror amid Sweetness

2020 ◽  
pp. 193-208
Author(s):  
Ewa Górecka
Keyword(s):  
Ancient Rome ◽  
The Novel ◽  
Contemporary Culture ◽  
Aesthetic Value ◽  
Oil Painting ◽  
European Culture ◽  
Semiotic Systems ◽  
Artistic Interpretation ◽  
Quo Vadis ◽  
Important Form

Postcards, once an important form of communication which has now been driven out of contemporary culture by emails and other instant messages, are the least known among the metatexts of Sienkiewicz’s novel. The time of the novel’s creation and the fact that it was quickly recognized as a bestseller contributed to the production of numerous postcards that presented scenes and characters from Quo vadis. They deserve attention not only for their artistic variety (style, technique, format, and so on), but also for their coexistence with kitsch. The presence of this aesthetic category in intersemiotic interpretations of Sienkiewicz’s work implies the need for determining which parts of the novel particularly encourage kitsch. Postcards referring directly to Quo vadis reveal the presence of different types of kitsch. Due to the novel’s subject matter, religious, erotic, and patriotic kitsch are observed most often, followed by the kitsch of death and suffering. In order to understand the connection between Sienkiewicz’s Quo vadis and kitsch, it is not enough to determine its types. Kitsch on postcards tends to be integrated into an intertextual and periphrastic strategy. Whether through the vehicle of a photograph, watercolour painting, oil painting, engraving, or sculpturography, the purpose of creators of illustrations was usually to put across the idea of the novel and its aesthetic value. Importance was also attached to the expectations of potential purchasers of postcards, both those who had and those who had not read Quo vadis. Thus, the postcards are valuable evidence not only of the artistic interpretation of the novel in different semiotic systems but also of the perception of ancient Rome in twentieth-century European culture.

Costumes in Henryk Sienkiewicz’s Quo vadis and their Literary and Painterly Sources

2020 ◽  
pp. 55-72
Author(s):  
Ewa Skwara
Keyword(s):  
Ancient Rome ◽  
The Novel ◽  
Classical Education ◽  
Roman Literature ◽  
The Poor ◽  
The World ◽  
Close Relationship ◽  
The Status ◽  
Quo Vadis ◽  
Colour Coding

Sienkiewicz had to dress the characters of Quo vadis in period garments. Their descriptions rarely appear, but they are highly suggestive of how the author understood ancient Rome and tried to recreate it in his work. Sienkiewicz gives detailed descriptions of costumes only when they concern the most important figures in his novel, or if clothing plays an important role in the plot. The rest of the protagonists are treated as collective characters whose clothing is identified only in terms of togas, stolae, or the robes of the poor. Beside the ubiquitous tunic, other Latin names of clothing primarily indicate the status of characters or are mentioned when Sienkiewicz uses clothes to disguise them. In those cases, the ubiquitous tunic receives an adjectival descriptor of colour or shade, which in the world of Quo vadis has a differentiating function. The names of the characters’ outfits have their origins in Roman literature. The terms introduced in the novel allow for an easy recreation of the author’s reading list, which consists of the basic works of a classical education—Cicero, Suetonius, Plutarch, Pliny, Horace, Propertius, Juvenal, Martial. Sometimes Sienkiewicz mixes his classical terminology with those of ecclesiastical Latin, creating an unintendedly humorous effect. However, the writer’s use of costume colour seems to have been inspired by the paintings of Lawrence Alma-Tadema and Henryk Siemiradzki. This chapter will explore the very close relationship between text and paintings, and utilizes Sienkiewicz’s colour coding to pinpoint some of the images on which he drew.

scholarly journals Cultural Specifics of Precedent Names as a Factor of Cognitive Equivalence in Translation

2019 ◽  
Keyword(s):  
Cultural Identity ◽  
Literary Translation ◽  
Cognitive Factors ◽  
Cultural Environment ◽  
Cognitive Level ◽  
Cognitive Mechanisms ◽  
Factors Influencing ◽  
Cultural Status ◽  
The Mind ◽  
Target Culture

The article aims at establishing cultural and cognitive factors influencing the translation of precedent names (PNs). As a prototypical means of conveying firmly established meanings, PNs reveal cognitive mechanisms of expressing the most relevant values through metaphors. Functioning both at the linguistic and cognitive level, PNs accumulate characteristics of stereotype, prototype, metaphor and intertext jointly forming the concept of precedence which determines the degree of cognitive equivalence in case of PNs translation. We claim that cognitive equivalence is the principal criterion for successful PNs rendering since it allows for maximum possible correspondence of the meanings the author embodied in the name and those actualized in the mind of the target reader. The highest degree of cognitive equivalence correlates with preservation of all the elements of precedence, though some of them may be sacrificed to ensure integrity at the level of the entire message. Differences in conceptualizing reality by various cultures lead to discrepancies in the perception of certain phenomena or even loss of precedence inherent in a name when transferred to the target culture. Whether consciously or unconsciously, the translator attempts to establish the scope of PNs use both in the source and target cultures. Proceeding from the cultural status of PNs, (s)he seeks to anticipate if a direct equivalent of the original name invoke the image intended by the author. If in the receiving culture, a PN appeals to a different meaning not established as the prototype of the necessary quality or does not actualize any image, the translator uses transformations aimed at compensating the lack of background knowledge for a potential reader. The degree of transformations the translator resorts to depends heavily on the cleavage between the source and target cultural environment and, consequently, the meanings PNs will communicate for the readers of the original and the translation. The strategies translators employ in literary translation support the hypothesis of the research concerning the interrelationship among the cultural identity of PNs, methods of their translation and the degree of cognitive equivalence achievable against the background of culture-specific constraints.

An Inquiry into Thomas Jefferson's Ideas of Beauty

2000 ◽  
Vol 59 (2) ◽  
pp. 216-231 ◽  
Author(s):  
Kenneth Hafertepe
Keyword(s):  
Eighteenth Century ◽  
Classical Tradition ◽  
Human Mind ◽  
Aesthetic Theory ◽  
Ancient Rome ◽  
The Enlightenment ◽  
Standard Of Taste ◽  
The Mind ◽  
Art And Architecture ◽  
Good Proportion

A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.

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