Agnieszka Elżbieta Elżbieta Majcher’s research while affiliated with Jan Kochanowski University and other places

The aim of this paper is to present translation strategies applied in the process of literary translation of proper names. The analysis is carried out on the example of the translation of the novel "Prince Caspian" by Clive Staples Lewis: into Polish by Andrzej Polkowski and into German by Lena Lademann-Wildhagen. The paper analyses how proper names referring to living creatures, geographical or topographical names were translated. The techniques applied by the two translators were significantly different, from transference, substitution, translation of part of the names, through referring associations with the character’s behaviour or the features of the object, to free translation, limited only by the author’s imagination. All the names were analysed in terms of semantics, morphology, for some the graphemes and phonemes were studied. First, the translation techniques used dealing with proper names were identified. Based on this, the results of the analysis of the selected names from the novel and its translations were presented together with conclusions on their influence on the world depicted in the novels and the impact the differences in translations can have on the reader.

The aim of this paper is to compare two English language film adaptations (by Steven Soderbergh and Ari Folman) with each other and with the books they are based on. Stanisław Lem’s novels - The Futurological Congress and Solaris - were translated into English and the directors of the films mentioned above were able to work with them. However, while one translation was appreciated by many, including the author of the original, the other one did not get much credit and features many inaccuracies, which will be presented below. The question of how much the quality of translation influences the intersemiotic translation, which adaptation is believed to be, will be examined in the paper. As, according to translation scholars, preliminary interpretation is vital for any translations, it seems justified to state that without being able to refer to the author’s original thoughts the film-makers cannot produce a good adaptation. This will be revised on the basis of comparing examples from the books and films. The analysis will be drawn on an account of translation and film adaptation theories together with the outlining of cultural background for each work.