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    Wyświetlanie 1-4 z 4
    Tytuł:
    POSTKOLONIALNA OBCOŚĆ W PRZEKŁADZIE NA JĘZYK „POZAKOLONIALNY”
    THE POSTCOLONIAL OTHERNESS TRANSLATED INTO A „NON-COLONIAL” LANGUAGE
    Autorzy:
    Czernik, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/911507.pdf
    Data publikacji:
    2018-07-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    postcolonialism
    translation
    Translation Studies
    foreignization
    domestication
    Chinua Achebe
    Salman Rushdie
    postkolonializm
    przekład
    przekładoznawstwo
    wyobcowanie
    udomowienie
    Opis:
    Przedmiotem niniejszego artykułu są mechanizmy towarzyszące przekładowi literatury postkolonialnej na język „pozakolonialny”, czyli przeniesieniu tekstu poza języki i kultury uczestniczące w (post)kolonialnym zwarciu. Zagadnienia te są omówione na przykładzie przekładów na język polski powieści Chinuy Achebego Things Fall Apart oraz Salmana Rushdiego The Satanic Verses.
    This paper aims to describe the mechanisms of translating postcolonial literature into a “non-colonial” language, transmitting a text from languages and cultures which take part in a (post)colonial clash. These issues are illustrated with the examples taken from Polish translations of Chinua Achebe’s Things Fall Apart and Salman Rushdie’s The Satanic Verses.
    Źródło:
    Porównania; 2017, 20, 1; 107-123
    1733-165X
    Pojawia się w:
    Porównania
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Heart of Darkness: Piercing the Silence
    Autorzy:
    Khan, Almas
    Powiązania:
    https://bibliotekanauki.pl/articles/889018.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    prose fiction
    Joseph Conrad
    Edward Said
    Chinua Achebe
    Africa
    Victorian society
    colonial subjugation
    silence
    Opis:
    ‘Dead silence’ can resonate with more meaning than the spoken word, the absence of oral discourse signaling the presence of an unsettling subject, as Edward Said commented in Culture and Imperialism. Heart of Darkness pierces this silence through its assessment of Victorian society’s corrosive capitalist core. The novella’s symbolism and collapse of binaries anticipates modernism, and these techniques allow Conrad to censure white men, both those with real and petty power; and white women, who are depicted as colonialism’s passive or active enablers. This portrayal ultimately condemns the characters’ brutality even as it expresses cynicism about humanity’s potential for compassion.
    Źródło:
    Anglica. An International Journal of English Studies; 2014, 23/1; 73-82
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Achebe’s weakest link: an analysis
    Autorzy:
    Records, Aaron
    Powiązania:
    https://bibliotekanauki.pl/articles/942440.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Africa, arguments of intention, Chinua Achebe, comparison, Conrad’s style, cryptoracism, Heart of Darkness, intention, Joseph Conrad, Nietzsche, prejudice, racism, syntax, The Secret Sharer, The Shadow Line
    Opis:
    Chinua Achebe, author of Things Fall Apart, states in an interview that Joseph Conrad ensconces racism in his adjective-ridden writing style. More than that, Achebe even states that Conrad intentionally tries to confuse his readers so that they do not detect his racism. Arguments of intention are dangerous, especially when the author that is subjected to one is deceased. They cannot defend themselves. In order to see if Achebe’s claim of hidden racism in Heart of Darkness is true or not, I have read two other works by Conrad, The Secret Sharer and The Shadow Line: A Confession, and compared their writing. Using more analyses of Conrad’s works, I discover that Conrad is not too confusing for his readers; most people understand him. However, I notice that Heart of Darkness is written in a more confusing style. Adding Conrad’s philosophy and reviewing it with Nietzsche’s philosophy, we see that Conrad doesn’t seem like someone who would try to be racist and then hide it. The argument of intention would also seem to have an air of arrogance, as it appears Achebe thinks other readers are unable to comprehend Conrad’s text the way he can, or at least without his guidance. In conclusion, I surmise that arguments of intention are dangerous and that no one should make them because they are largely insupportable. If anything, an argument of intention has all the qualities of prejudice and once investigated, seems just as absurd as arguments for racism.
    Źródło:
    Yearbook of Conrad Studies; 2012, 7
    2084-3941
    Pojawia się w:
    Yearbook of Conrad Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Joseph Conrad in the light of postcolonialism
    Autorzy:
    Vogel, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/638822.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    An Outpost of Progress, colonial literature, Chinua Achebe, colonialism, Congo, Heart of Darkness, Joseph Conrad, postcolonial literature, postcolonial studies, postcolonialism, racism
    Opis:
    This article consists of two parts. The first part presents the main concepts and facts connected with the development of postcolonial studies as a relatively new academic discipline, while the second part discusses Conrad’s two ‘African’ works, which - containing as they do an implicit critique of colonialism and imperialism - are now seen as being one of the very first ‘postcolonial’ books. Over the last thirty years, postcolonial studies have not only gained the status of an academic discipline, but have become one of the main schools of literary criticism. The postcolonial approach is also critical towards those systems of presenting the world that have existed for decades and have thus come to be regarded as being natural; it undermines their position and shows that they are nothing but ideological discourses which have been created by world empires. To a great extent, postcolonial theory has relied on existing theories for its methodology and terminology. On the one hand it relies on Marxism, while on the other it leans towards poststructuralism and postmodernism. Postcolonial theory also participates in discussions concerning the position of the Other (Spivak). As well as outlining the framework of postcolonial theory, it is important that we define such terms as ‘colonial’ and ‘postcolonial’ literature. In her book entitled Colonial and Postcolonial Fiction (1995), Elleke Boehmer suggests limiting the field of research in order to concentrate on the modern colonial empires that have emerged over the last four or five centuries, laying particular emphasis on the British Empire, as it was here that the greatest textualization of the idea of colonial expansion took place. The terms ‘colonial’ and ‘post-colonial’ are understood differently in The Empire Writes Back (1989), whose authors (Bill Ashcroft, Gareth Griffiths and Helen Tiffin) suggest that the the term ‘post-colonial’ should refer to all cultures affected by imperial expansion - from the beginnings of colonization to the present day - arguing that the expansion of colonial empires in previous centuries exerted a considerable influence on historical processes that have lasted down to our own times. Because these definitions of post(-)colonial literature do not encompass such phenomena as the literatures of multicultural metropolies or literatures going beyond the realm of the English language or beyond the literature of British or French colonialism, critics now often prefer to use expressions such as ‘literature in English’, ‘French-language literature’ or ‘literature of the Caribbean’ (which indicate the language or the region where a given type of literature has emerged) instead of the term ‘postcolonial literature’. Most contemporary scholars see Conrad as being one of the first postcolonial writers - someone who criticized the ruthless colonial expansion of European empires and the concept of the “White Man’s Burden”. The works which attract particular attention are, of course, those which relate to Conrad’s African experience: An Outpost of Progress and the excellent, albeit overexploited novella Heart of Darkness, which - despite its having been mentioned and referred to so many times by postcolonial critics - still evokes a great deal of controversy. In 1975 the Nigerian writer Chinua Achebe famously declared Joseph Conrad to be “a bloody racist”. Since the publication of Achebe’s An image of Africa many scholars have defended the position of Conrad as one of the chief opponents of colonialism, stressing the fictitious nature of Heart of Darkness, its experimental narration and its metaphorical and symbolic character. This controversy has by no means been laid to rest.
    Źródło:
    Yearbook of Conrad Studies; 2012, 7
    2084-3941
    Pojawia się w:
    Yearbook of Conrad Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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