O wyzwaniach, przed jakimi staje tłumacz literatury dla dzieci

On Challenges Faced by Translators of Children’s Literature The aim of the article was to investigate the effect of the translation solutions applied in the Polish translation of V. Garshin’s Lyagushka-puteshestvennica fable on the child addressee. The article starts with an overview of characteristic features of text recipient (prior knowledge, attitudes and values, limited bilingualism and biculturalism), referring them to the childad dressee with the consideration of readers belonging to different cultures. Due to limited knowledge and awareness of children (as compared to the adult reader), the linguistic solutions applied in the translation acquire a different perspective – they are closely connected with the recognition of the known and the unknown by the child, regardless of one’s own culture.The analysis shows that the differences in the precision of rendering the cognitive and emotional value of the text as well as disregarding key elements of the original text by the translator can easily distort the reception of the investigated text by the child recipient.

Mythopoetics of the space-time continuum in Sergei Kozlov’s tales of the Hedgehog and the Bear

The original tales of Sergei Kozlov about the Hedgehog and the Bear are full of deep philosophical content, which finds expression in intertextual allusions, the transformation of my-thological images and formulas. A special place in the author’s discourse is occupied by the space-time continuum, which can be defined as a continuous set of categories that embody the topologi-cal explication of the fairy world through mythopoetic imagery, religious subtext, and multiple al-lusions. Temporality as a text category becomes the axis of artistic time, imparting signs of per-ception to the entire space-time continuum of the work. The temporality of the fairytale cycle is determined by the switch from everyday specifics to the scale of an unlimited universe. The stopped time effect occurs at the moment of such switch. Out of time, the characters find them-selves in the element of fantasy overwhelming them. The space has the features of impressionism, every moment in the life of fairytale heroes reveals a new look of the vernal world. The heavenly bodies in the spirit of the ancient fairy-tale epic are close to the earth and reified. Astral categories in the images of the moon, stars, sky reveal a connection with outer space. Anthropomorphic cha-racters inhabiting the magical space of the forest, while retaining their archetypal features, acquire special properties in fairy tales that go far beyond the framework of folklore stereotypes. This is imagination and fantasy that have no boundaries, the ability to contemplate the beautiful, the as-cent of thought to eternal philosophical problems. The Hedgehog, as the protagonist and the bearer of these qualities, often evaluates finiteness – the infinity of time, its cyclical nature, the constant change of death and birth. He, like other characters, overcomes real space and time with the help of imagination. The poetics of myth, archetypal imagery, artistic components of magical-fantastic tales, transformed in the author’s discourse of Sergei Kozlov, allow the writer to penetrate the innermost world of the child’s soul through the space-time continuum and present the most important ontological and epistemological problems of human existence and divine providence in the world to the adult reader.

Cultural transgressions in contemporary literary texts for children

Literature, also created with children in mind, to quote Kazimierz Brodziński, is a mirror of the age and the nation. Reacting to the change of cultural paradigm, it opens the borders, meets the current needs of the audience, adapts its repertoire to their interests and new narrative practices. Contemporary technological ubiquity generates an asymmetry of semiotic matter and communicative context, which realizes displacements in the area triad: culture-literature-media, thus triggering transgressions in literary texts. The questioning of the conventions of writing and printing causes modifications in the architectural structure of readings, which become on-linear, use the language of old and new media, and follow the example of audiovisual productions. The article highlights some of the transformations taking place in literature aimed at the on-adult reader in times of a culture that is changing anthropologically in spectacular and audiovisual way.

The Author’s Book in the Modern Repertoire of Belarusian Publications

The modern Belarusian author’s book still rarely attracts researchers’ attention. At the same time, the 21st century, with its attention to the form of any work, brought both “writing artists” and “drawing authors” into literature. The article aims to review author’s books presented in the repertoire of modern Belarusian publishing houses in 2014–2019. The author’s book is usually understood as an edition in which the text and design are created by one person. From the point of view of the interaction of text and illustrations, the article analyzes 20 modern author’s books issued by Belarusian authors: S. Stelmashonk, E. Popova, L. Speranskaya, V. Starikov, S. Volkov, Babushka Ira (Irina Chursina-Bednarska), V. Tkach, K. Pashkevich, A. Balzhak, K. Shtalenkova, G. Labodenko, V. Komarov, K. Mizin, T. Lisitskaya, L. Miklashevich, and others. Author’s books are included in the repertoire of the publishing houses Registr, Medyyal, Kolorgrad, Zvyazda, Entsyklapedyya imya P. Broyki, Zmitser Kolas, and Altiora – Zhivye kraski. Most of the author’s books are addressed to children of preschool and primary school age; Babushka Ira wrote her story “Virtual Brain Eater” for readers of secondary school age; K. Shtalenkova’s fantasy novel The Other Side of the Mirror is for high school students; G. Labodenko and S. Stelmashonok offer their collections to children and adults; V. Komarov, K. Mizin, L. Miklashevich, T. Lisitskaya count on an adult reader. Separately, the author discusses the book of the repressed Belarusian poet Larysa Hienijuš … To Grandchildren. Poems and Letters. Uncensored, which is decorated with illustrations by the author and released 35 years after her death. The book has an original conception, a rich reference apparatus and a highquality printing performance. The author notes that some of the modern Belarusian author’s books represent a creative experiment; however, in most publications, the text dominates the illustration both in terms of space and semantic load. The analysis of the repertoire of publications shows that the most interesting author’s books belong to the pen of those people who have an art education degree (L. Speranskaya, E. Popova, S. Stelmashonok), or are active in the field of culture and art (T. Lisitskaya, G. Labodenko). The material presented in the article suggests that the artistic and graphic genre of the author’s book is actively developing in Belarus today and is waiting for further research by art historians, philologists and publishing specialists.

Między utopią socjalizmu a karykaturą Zachodu. Nie-dziecięca interpretacja świata przedstawionego w trylogii o skrzacie Nieumiałku Mikołaja Nosowa

This paper attempts an interpretation of Nikolai Nosov’s novels about the adventures of Dunno, which enjoyed a cult status in the Soviet Union. Despite being children’s literature, they are examined in terms of themes that have little to do with young readers. The analysis is historical rather than literary, aiming chiefly to elucidate the cultural context and the social notions from the period of Khrushchev’s thaw. Here, the author undertakes to answer the questions concerning the extent to which the reality created by Nosov served to mould the socialist worldview as early as childhood and, simultaneously, whether it incidentally offered the adult reader an opportunity of intellectual escape into the officially condemned world.

Looking for national and genre identity in the modern Russian and Hungarian author fairy tale (on the example of the texts by A. Kabakov, A. Stepanov and A. Mosonyi)

The essay deals with the interaction between the genre transformations of the author fairy tale and the national problematics, as well as the question of the modern strategies of genre renewal on the example of the texts by modern Russian and Hungarian writers (“The Moscow fairy tales” by A. Kabakov, “The fairy tales not about people” by A. Stepa-nov, “The Budapest fairy tales” and “The supermarket fairy tales” by A. Mosonyi). Among other questions, I address the so-called “genre me-mory” (M. Lipovetsky’s term), which in the texts by Kabakov, Stepanov, and Mosonyi functions at the level of entire cycles but rarely at the level of separate texts. With regard to the fi eld of children’s literature, the na-tional locus makes the texts appear more modern-looking and therefore appealing to an adult reader who rediscovers the details of everyday life. The opposite strategy is often applied in the philosophical, parable or political fairy tales, when the authors give priority to the nation-specifi c, nuanced and recognizable locus, which at the same time receives the features of the fairy tale or mythological space.

Vietnamese Folklore Seen from an Adult’s View

Folklore, I believe, is a manual for learning to appreciate the value of hard work, honesty, and kindness that not only myself but also many other Vietnamese people who have been reading and listening to folklore take into their later life. However, as much as I appreciate its moral values and beauty, my worldview as an adult reader has urged me to reflect on the scarcely discussed contradictions of norms and virtues in folklore. The reading of ‘On how religions could accidentally incite lies and violence: Folktales as a cultural transmitter’ by a group of Vietnamese researchers has been enlightening to me in this regard.

Mediated Reading of Children’s Literature as Paradigmatic Scenario to Develop Emotional Competence

ABSTRACT In the reading, we explore specific scenarios that set the context for the emotional experience, named paradigmatic scenarios. In this essay, the authors highlight the contributions of children’s literature reading in their social and emotional development through a process called mediated reading. In this process, the adult reader operates as a mediator of emotional experience of “fictional” characters in the narrative, the story and those real processes that characterize children’s context and life experience. This theoretical study ends by discussing the scope of children’s literature reading process mediation as a tool that contributes school inclusion, and allows interaction between cognitive and affective aspects in formal education.

RECEPTIVE STRATEGIES OF Y. KLAVDIEV'S PLAY "THE YAKUZA DOGS"

The article discusses the play by contemporary playwright Yuri Klavdiev "TheYakuza Dogs." Here is a detailed (but not exhaustive) analysis of the cultural codes. According to the author of the study, the languages of animation, cinema, classical and fictional literature, computer games and eastern philosophy form in the play, a specific "dialect" addressed to its teenage reader. The article emphasizes that a reading teenager is different from a child-reader and an adult reader: their receptive capabilities are largely defined by puberty crisis. On the one hand, in fiction a teenager looks for dynamics and heroics, and, on the other hand, they are eager to face the social reality fierce with its innumerable conflicts. In the first case, the teenagers manifest themselves as a child-reader with their interest for action and the struggle between good and evil. In the second case, on the contrary, as an adult, since the ability to see the border that separates the tale from life belongs only to a well-formed reader.

Fishing with Grandma by S. Avingaq & M. Vsetula

Fishing with Grandma is another lovely book from Nunavut’s Inhabit Media. There are pictures on every page. The overprinted text is a story that describes Inuit ice-fishing practices. Through the dialog between a grandmother and her two grandchildren, we learn details of how to cut holes in the ice, what kinds of lures to use, how far down to drop the line and how to bop a fish on the head to kill it. One of the most important teachings from this book comes at the end, when the children and their grandmother have caught far more Arctic Char than their family needs. On their way home they distribute the fish to people who cannot get out to go fishing. The images tell as much of the story as the text. They are fun and show us small details that are authentic to the environment. The family rides an ATV to the lake while the sled dogs watch, the ATV has a polar bear shaped license plate and when the family gets hot from chipping the ice, they take off their parkas and lay them on the ice. Through the story and the images, we not only learn how to fish, but we also vicariously experience the environment: “I would look up from my fishing hole and listen to the sound of the lake. Ravens flew by, calling “kak, kak. I could also hear Skidoos and ATVs in the distance….”While a valuable contribution documenting ice fishing at a child’s level, the reading level is too high for the intended audience, so for younger children, an adult reader will be required. Overall an excellent book both in terms of content and appeal. Highly recommended for school and public libraries.Highly Recommended: 4 stars out of 4 Reviewer: Sandy Campbell Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.