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Barbara Bibik Since the 'Cultural Turn' in Translation

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Barbara Bibik Since the 'Cultural Turn' in Translation EUROPA ORIENTALIS 36 (2017) PRELIMINARY THOUGHTS ABOUT THE TRANSLATION STRATEGIES IN POLISH TRANSLATIONS OF ANCIENT GREEK TRAGEDIES Barbara Bibik Since the ‘cultural turn’ in translation studies, the great importance is attached to the role of culture and the influence of cultural tradition, to the social back- ground, to the subjectivity of a translator in the process of translating. Thus a shift in the research was made from linguistic (interlingual and intertextual) issues, in which the faithfullness towards the original (source text) prevailed, to the role of culture in translation. Current studies resign from the prescrip- tive and normative rules in order to analyse every translation in the perspec- tive of target culture, by which every translation is conditioned and for which it is given. Such an approach expanded the scope of translation studies re- markably and opened new fields of research.1 This was also my approach, when I was studying selected Polish transla- tions of Aeschylus’s Oresteia.2 My research proved how a relevant issue in the analyses of any translation of a drama (and nowadays there is no question that any drama belongs both to the realm of literature and to the realm of theatre)3 is the cultural, literary and theatrical context of such a translation. _________________ 1 Cf. M. Heydel, Zwrot kulturowy w badaniach nad przekładem, “Teksty Drugie”, 6 (2009), pp. 21-33; Współczesne teorie przekładu. Antologia, ed. P. Bukowski, M. Heydel, Kraków, Znak, 2009. 2 My book titled Translatoris vestigia: ancient tragedy on the stage of a translator’s mind was published by the Nicolaus Copernicus University Press (2016). 3 Cf. D. Ratajczakowa, Sługa dwóch panów: dwoisty żywot dramatu, in Ead., W krysztale i płomieniu. Studia i szkice o dramacie i teatrze, vol. 1, Wrocław, Wydawnictwo Uniwersytetu Wrocławskiego, 2006, pp. 80-89; J. Zawieyski, O przekładach dramatu, in O sztuce tłuma- czenia, ed. M. Rusinek, Wrocław, Zakład im. Ossolińskich, 1955, p. 418; A. Cetera, Enter Lear. The translator’s part in performance, Warszawa, Wydawnictwa Uniwersytetu Warszaw- skiego, 2008, p. 45; A. Romanowska, “Hamlet” po polsku. Teatralność szekspirowskiego tek- stu dramatycznego jako zagadnienie przekładoznawcze, Kraków, Księgarnia Akadamicka, 2005, p. 9; D. Ratajczakowa, Teatrologia i dramatologia, in Problemy teorii dramatu i teatru, vol. 1, ed. J. Degler, Wrocław, Wydawnictwo Uniwersytetu Wrocławskiego, 2003, pp. 45-51; 340 Barbara Bibik In fact, such relevant issues are all factors that may have the impact on any translator, such as the historical, political and social circumstances, the lin- guistic skills of a translator, his/her personality, cultural and theatrical prefe- rences, intuition, also the preceeding translations of a play picked by a trans- lator. All those factors may be referred to as ‘the horizon of a translator’, to borrow a phrase from Antoine Berman’s (1942-1991), French translator’s, philosopher’s, historian and theorist’s of translation, posthumous book titled Toward a Translation Criticism: John Donne published in 1995,4 which brought many important remarks to the theory of translation. Apart those abovementioned factors, while analysing translations of ancient Greek trage- dies, we should also take into account the knowledge about ancient Greek theatre and Greek drama in translator’s time as well as the theatre stage of his/her days. Although translation studies are developing increasingly, issues concern- ing drama translation rarely find the interest of scholars of the main current, as some scholars write;5 and those concerning translation of ancient dramas are raised even less often. Thus, they are one of the neglected fields of trans- lation studies. In Polish academic literature those issues were very rearly rai- sed by scholars to mention only few papers: my work about translations of Sophocles’, Horace’s, Lope de Vega’s, Calderon’s and Goethe’s plays6 by Ludwik Hieronim Morstin, Refleksje tłumacza poezji antycznej by Zygmunt Kubiak, Troski tłumacza7 and Źle o poprzednikach8 by Artur Sandauer, Prze- kłady dramatu antycznego. Z doświadczeń tłumacza9 by Jerzy Łanowski, _________________ J. Ziomek, Projekt wykonawcy w dziele literackim a problemy genologiczne, in Id., Powino- wactwa literatury. Studia i szkice, Warszawa, Państwowe Wydawnictwo Naukowe, 1980, pp. 102-132; R. Niziołek, Cztery razy Don Juan: polskie dwudziestowieczne przekłady dramatu Moliera, Kraków, Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, 2014, p. 21; J. Degler, Pomiędzy literaturą a teatrem (o kłopotach z dramatem), in Problemy teorii dramatu i teatru, cit., pp. 52-66; J. M. Walton, Translation or Transubstantiation, in Agamemnon in Performance 458 BC to AD 2004, ed. F. Macintosh, P. Michelakis, E. Hall, O. Taplin, Ox- ford, Oxford Univ. Press, 2005, p. 190. 4 A. Berman, Pour une critique des traductions: John Donne, Paris, 1995. 5 Cf. A. Romanowska, “Hamlet” po polsku, cit., p. 10; R. Niziołek, Cztery razy Don Juan, cit., p. 9. 6 O sztuce tłumaczenia, cit., pp. 279-298. 7 Ibidem, pp. 343–346. 8 Ibidem, pp. 343–346. 9 Siew Dionizosa. Inspiracje Grecji antycznej w teatrze i dramacie XX wieku w Europie Środkowej i Wschodniej, ed. J. Axer, Z. Osiński, Warszawa, OBTA, 1997, pp. 179-185. Translation strategies in polish translations of ancient Greek tragedies 341 O tłumaczeniach Plauta.10 Skąd się biorą didaskalia w przekładach dramatów antycznych? Exemplum: Asinaria Plauta w tłumaczeniu Ewy Skwary11 czy Spektakl zaklęty w tekście. Wizja antycznego przedstawienia Captivi Plauta12 by Ewa Skwara and one book written by Radosław Rusnak and titled Seneca noster.13 Issues concerning other ancient works are in a slightly better situa- tion. While performing my studies on the cultural context of Polish translations of Oresteia, I came to some general conclusions about the translation strate- gies used by different Polish translators of ancient Greek tragedies. And, un- surprisingly, it appeared that those strategies depend on the literary or thea- trical context. As opposed to the antiquity of ancient Greek plays as texts, the history and tradition of Polish translations of ancient Greek tragedies written by Aeschy- lus, Sophocles and Euripides is relatively new. Omitting first two translations, glorious for Polish literature, of Euripides’s Alcestis by Jan Kochanowski (1530-1584) (only the prologue of the play) and Sophocles’s Antigone14 by Walenty Jakubowski (who died in 1582) in 16th century, this history did not start until the beginning of 19th century. However, since then we may count over one hundred translations of ancient Greek tragedies made by dozens of translators,15 according to the information given in the prefaces to some trans- _________________ 10 “Eos”, 84 (1996), pp. 335-343. 11 “Symbolae Philologorum Posnaniensium Graecae et Latinae”, 16 (2004), pp. 67-76. 12 Obrzęd, teatr, ceremoniał w dawnych kulturach, ed. J. Olko, Warszawa, Wydawnictwo DiG, Ośrodek Badań Interdyscyplinarnych “Artes Liberales”, 2008, pp. 243-260. 13 E. Skwara, Seneca noster, Warszawa, 2009. 14 By 19th century this translation, due to the difficulties in obtaining it, was considered le- gendary and Karol Estreicher, Polish librarian and bibliographer, omitted it in his Bibliografia Polska (P. Chmielowski, Tragedye Sofoklesa, Przekład Z. Węclewskiego. Poznań. Nakładem Biblioteki Kórnickiej 1875 str. XXVII, 589, “Ateneum” 1876, vol. 3, fasc. 9, p. 659). 15 To mention them, from 19th century: Jan Mihanowicz, Alfons Walicki, Antoni Małecki, Józef Korzeniowski, Franciszek Wężyk, Euzebiusz Słowacki, J. G. Biernacki, Tadeusz Elia- szewicz, Wincenty Smaczniński, Lucjan Siemieński, Kazimierz Kaszewski, Zygmunt Węc- lewski, F. H. Lewestam, Józef Szujski, Hugo Wróblewski, Jan Czubek, Stanisław Grabowski, Antoni Mierzyński, Kazimierz Morawski; and from 20th century: Ludwik Eminowicz, Jan Kasprowicz, Bogusław Butrymowicz, Stanisław Karpiński, Tadeusz Węclewski, Ludwik Hie- ronim Morstin, Juliusz Osterwa, Mieczysław Brożek, Stefan Srebrny, Artur Sandauer, Helmut Kajzar, Stanisław Dygat, Jerzy Łanowski, Stanisław Hebanowski, Józef Jasielski, Maciej Słomczyński, Mirosław Kocur, Antoni Libera, Janusz Szpotański, Nikos Chadzinikolau, Zyg- munt Kubiak, Robert Chodkowski, Marcin Sosnowski, Maciej Wojtyszko, Michał Walczak, Robert Chodkowski. 342 Barbara Bibik lations and in the reviews written in the literary journals. I am pretty sure that generally we are aware of only part of them as some were never published and were only mentioned in the literary journals. There are translations of all extant tragedies of one playwright (translated by one author) or translations of singular plays, sometimes only parts of a play. Some of them were trans- lated only for the use of theatre or radio. There are also revised editions of the translations already published some time before (and it is a regular practice of translators who at first publish singular translations and then, some time afterwards, often after having made some changes, they publish the whole collection, like Zygmunt Węclewski, Kazimierz Kaszewski or Robert Chod- kowski). Among the Polish translators there were (and are) classicists (e.g. Zygmunt Węclewski, Stefan Srebrny, Kazimierz Morawski, Robert Chod- kowski, Mieczyław Brożek, Artur Sandauer, Jerzy Łanowski), writers, lite- rary and theatre critics, translators (like Kazimierz Kaszewski, Maciej Słom- czyński or Antoni Libera), poets (like Jan Kasprowicz or Bogusław Butry- mowicz), historians (like Józef Szujski), scholars (like Jan Czubek), theatre directors
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