Tłumaczenie symultaniczne mowy noblowskiej w dydaktyce przekładu konferencyjnego

Simultaneous Interpreting of a Nobel Lecture in Conference Interpreter Training Simultaneous interpreting with text is a hybrid mode combining simultaneous with sight translation. As it constitutes an important element of the interpreter’s work, it must then be a component of conference interpreter training. Due to a scarce research in the field so far, the aim of this paper is to discuss an empirical longitudinal study of simultaneous interpreting of a Nobel lecture from Spanish into Polish. The results of the analysis show that during the preparation phase, it is not a selective analysis of such lexical items as proper names, numbers or unknown words, but rather a syntactic analysis, which enables to render compound statements in a specific register, as well as an in-depth cultural analysis, which contributes to acquiring knowledge across different fields necessary in conference interpreting.

Mental Imagery in Bertrand Russell’s Nobel Lecture “What Desires Are Politically Important?”

The article presents the analysis of the mental images of human desires and their verbalization techniques involved in Bertrand Russell’s Nobel lecture delivered in 1950. Human desires are non-material mental constructs that are not clearly defined in the dictionaries, their verbalization being complicated by the issues related to rationality, psychology of thinking, objectivity, and the variability of individual behavioral reactions. The results of the research suggest that the verbalization of desires is essentially complicated by social and cultural stereotypes. It has been noted that storytelling can be applied as one of the most effective techniques to create the required mental imagery of desires in the recipient’s mind. B. Russell’s unique manner of defining such politically important desires as acquisitiveness, vanity, glory, love of power, excitement is carefully analyzed. The use of figurative language as well as conceptual and stylistic metaphors that facilitate the process of shaping mental images of desires have also been the focus of our attention. Special consideration has been given to the analysis of the verbalization means of the politically important desires.

Unintentional investigations: Truth in drama and “all that ‘ordinary’ in the phrase ‘ordinary language philosophy’ means”

This paper explores the notion of truth in relation to literature. It opens with a critical exposition of some dominant tendencies in contemporary aesthetics, in which narrow views of truth and reference guide the aesthetic investigations in harmful ways. One of the problems with such as view is not merely that it becomes difficult to talk about truth in art, but that it also makes the idea that we can learn something from literature problematic. The effort of this paper is thus to open up for a variety of notions of truth, that are not immediately tied to the notion of representation or correspondence. We need a way of talking about truth in art. The effort to explore a notion of truth in art that is not tied to narrow views about reference, and which broadens our sense of “aboutness” goes, in this paper, via a reading of Harold Pinter’s Nobel Lecture from 2005, together with some reflections inspired by some of Stanely Cavell’s reflections about the relevance of reflecting upon ordinary language. It is argued that literature engages in a form of conceptual reflection, by means of making the sense of our concepts clear and by challenging philosophical preconceptions about what our concepts must mean. What we can learn from art is thus not necessarily toed to either representation or authorial intent, but comes into view by means of the literary exercises that often (but certainly not always) require a conceptual sensitivity; that is, by means of careful attention to what words mean and what follows from them in specific contexts of use.

STEREOTYPICAL IDEOLOGIES TOWARDS WOMEN: FEMINIST POSTSTRUCTURALIST DISCOURSE ANALYSIS OF MALALA YOUSAFZAI’S POLITICAL SPEECHES

Purpose of the study: The study investigates how the speech of Malala Yousafzai to the United Nations and Nobel Lecture intends to be coercive through generalizing the experiential realities of women across the world and how it tends to legitimize and delegitimize certain beliefs about women in Pakistan. This paper attempts to demonstrate how Feminist Poststructuralist Discourse Analysis tends to subvert the stereotypical ideologies towards women across the world through the deconstruction of political media discourses. Methodology: The study tends to focus upon context-specific gender issues where power is constructed as a flowing entity in order to dismantle the binaristic constructions of powerful/powerless and also in order to reinterpret the stereotypical subject positions assigned to women in media discourses. A qualitative research paradigm has been used. Main Findings: This study shows the way in which Malala Yousafzai's speeches privilege one voice in favor of another voice is questionable, as the present research inquiry tends to deconstruct the epistemology of fixed gender symmetries in media studies. This study is finally able to reveal the ideology in Malala Yousafzai’s speeches and present the linguistic features that construct the ideology. Applications of this study: The present study can be applied in gender studies to study political ideologies. It is concluded that the ideology of Malala Yousafzai’s speeches is women empowerment. There is a protest and willingness to carry off girls ‘education and women’s rights. It is also shown through her persuasive ways to encourage the girls and women to recognize their abilities. She initiates changes in girl’s education and women’s rights. Novelty/Originality: This study is unique in the way that it interprets Malala's speeches under the framework of Feminist Post-Structuralist Discourse Analysis. It deconstructs the meanings and reveals the power dynamics through language.

Olga Tokarczuk is in A Dialogue between James W. Underhill and Adam Głaz on Filtering Olga Tokarczuk’s “Tender Worldview” into English during her Nobel Lecture

In December 2019, Olga Tokarczuk, the Nobel Prize laureate in literature for 2018, delivered the Nobel lecture in her native Polish. It was therefore up to her English translators, Jennifer Croft and Antonia Lloyd-Jones, to relay the laureate’s message to the wider audience. Two linguists and translators, James W. Underhill and Adam Głaz, discuss this Nobel lecture in its broader historical, political, and social context, recognizing Olga Tokarczuk’s position on topical issues, the role she plays in contemporary Poland, as well as the controversies she arouses. But Tokarczuk is predominantly a writer: her lecture is concerned with literature and it is literature. In a masterly fashion, the lauretate champions the creative power of storytelling, explores her notion of the tender narrator, and constructs intriguing analogies. She weaves nuanced semantic networks around the Polish words tęsknić/tęsknota (‘miss/missing’ or ‘long/longing for’) and jestem (‘here I am’). Underhill and Głaz discuss the meanders of the English translation of the lecture, pointing out the challenges that the translators had to face and suggesting alternative ways of coping with them. Through dialogue, they inquire into the nature of translation as an endeavour that is profoundly communicative and interpersonal. They emphasize that Olga Tokarczuk is an important voice; the role of her translators is to make this voice heard worldwide.

Literary celebrities as counterpublics: A comparative study of Gao Xingjian and Toni Morrison

Despite its universal importance, the Nobel Prize in literature, which is based in Sweden and administered by the Swedish Academy, is a central European literary prize. And the prestige which the Nobel Prize bestows upon its winners is fuelled by a central-European type of fetishization of intellectual achievement, in which Nobel laureates are more known than they are read. Rather than being publicly recognized for their literary achievements, Nobel Prize-winning authors become literary celebrities who represent various kinds of Nobel-related capitals, including political capital, cultural capital and economic capital. In this article, I investigate on two non-European, Nobel Prize-winning authors, Gao Xingjian (the first Chinese-language Nobel author, 2000) and Toni Morrison (the first African American female Nobel author, 1993), and how they represent different conceptions of literary celebrities, and by extension different types of counterpublics. In order to study the relationship between Nobel literary laureates, storytelling and the representation of marginalized groups in the public domain, I examine and compare how Gao Xingjian’s and Toni Morrison’s Nobel lectures give voice to the Sinophone community and the African American community respectively. For Gao’s case, I study his Nobel lecture against the backdrop of the Chinese ‘Nobel complex’. In Morrison’s case, I examine her Nobel lecture as being re-presented in her appearances on Oprah’s Book Club, a reading initiative launched by the popular American television talk show, The Oprah Winfrey Show.

“With an Ear to the Line”: An Auditory Reading of Seamus Heaney’s Wintering Out (1972)

<p><b>Abstract </b></p><p>The Irish Nobel laureate Seamus Heaney (1939-2013) is arguably one of the most widely read, studied and translated poets of our time. Sound − in all its manifestations, literal and metaphorical, including silence − is referenced throughout his poetry and prose. From the rasping sound of his father’s spade to the shunting of trains; from the gurgling of the local river to the silence of bogs and bog-bodies; from the noise of tractors and airplanes to the quietude of lakes and canals, moments of sound and silence inspire and define not only Heaney’s poems but also our experience of them. As Heaney himself indicates, listening was a way for him not only of perceiving the surrounding world but also reaching out and staying in touch with the wideness of the world. In his Nobel Lecture (1995), Heaney recalls how as a child he would take in “everything that was going on” beyond the walls, from “the sounds of the horse in the stable at night, the voices of adults conversation from the kitchen”, “a steam train rumbling along the railway line one field back from his house” to the “bursts of foreign languages” coming from the radio. </p><p>This study combines the linguistic and literary practice of close reading with ecological theories of auditory perception and soundscape interpretation to map and analyse references to sounds − and their absence − in Wintering Out (1972). This collection has been chosen because it was published at a transitional stage in the poet’s personal and professional life. Heaney’s third collection is born out of everyday childhood memories and his concerns about identity, territory, language, religion and history. It documents the poet’s standpoint in relation to the Troubles, his anxieties as a young parent, his hopes for the appreciation of the common ground and his confidence about his vocation as a poet. Wintering Out echoes the poet’s thoughts and concerns through moments of sound and silence. </p><p>Historically, studies of sounds and audition have been informed by a concern with the understanding of music and the physical attributes of sound waves − e.g. amplitude, frequency, timbre. Studies of sounds in poetry have focused primarily on understanding prosody and the relationship between poetry and music. This acoustic study of Heaney’s Wintering Out sets out to demonstrate that references to sounds in poetry are not only guided by a feel for the sounds of words but also by a strong sense of places and times they evoke, and thus, can be socially, culturally, and personally charged and meaningful. </p>

“With an Ear to the Line”: An Auditory Reading of Seamus Heaney’s Wintering Out (1972)

<p><b>Abstract </b></p><p>The Irish Nobel laureate Seamus Heaney (1939-2013) is arguably one of the most widely read, studied and translated poets of our time. Sound − in all its manifestations, literal and metaphorical, including silence − is referenced throughout his poetry and prose. From the rasping sound of his father’s spade to the shunting of trains; from the gurgling of the local river to the silence of bogs and bog-bodies; from the noise of tractors and airplanes to the quietude of lakes and canals, moments of sound and silence inspire and define not only Heaney’s poems but also our experience of them. As Heaney himself indicates, listening was a way for him not only of perceiving the surrounding world but also reaching out and staying in touch with the wideness of the world. In his Nobel Lecture (1995), Heaney recalls how as a child he would take in “everything that was going on” beyond the walls, from “the sounds of the horse in the stable at night, the voices of adults conversation from the kitchen”, “a steam train rumbling along the railway line one field back from his house” to the “bursts of foreign languages” coming from the radio. </p><p>This study combines the linguistic and literary practice of close reading with ecological theories of auditory perception and soundscape interpretation to map and analyse references to sounds − and their absence − in Wintering Out (1972). This collection has been chosen because it was published at a transitional stage in the poet’s personal and professional life. Heaney’s third collection is born out of everyday childhood memories and his concerns about identity, territory, language, religion and history. It documents the poet’s standpoint in relation to the Troubles, his anxieties as a young parent, his hopes for the appreciation of the common ground and his confidence about his vocation as a poet. Wintering Out echoes the poet’s thoughts and concerns through moments of sound and silence. </p><p>Historically, studies of sounds and audition have been informed by a concern with the understanding of music and the physical attributes of sound waves − e.g. amplitude, frequency, timbre. Studies of sounds in poetry have focused primarily on understanding prosody and the relationship between poetry and music. This acoustic study of Heaney’s Wintering Out sets out to demonstrate that references to sounds in poetry are not only guided by a feel for the sounds of words but also by a strong sense of places and times they evoke, and thus, can be socially, culturally, and personally charged and meaningful. </p>