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ARTICLES:
The Godfather: A Translator’s and Writer’s Subconscious and Conscious Skills in the Process of Evoking Reader’s Emotions
Issue: 5:3 (The nineteenth issue)
The article is an unyielding argument supporting the thesis that not only a
writer, but also a translator is expected to use their creativity so that nothing is
lost in translation. Amongst various factors that influence the process of
translating a novel the article focuses on two of them: a translator should stick
to the original text with taking the semantic fields differences into account
while s/he should keep the atmosphere of the source language, making as little
changes in the target language as possible. Marking a translator’s existence in a
text is strongly connected with a perlocutionary act. A great example of the
translation that covers both principles is The Godfather, written by Mario Puzo
and translated from English into Polish by Bronisław Zieliński. He translated
only English words into Polish, leaving the target Italian words with no
metamorphosis. The article presents the effect obtained by such an action.
writer, but also a translator is expected to use their creativity so that nothing is
lost in translation. Amongst various factors that influence the process of
translating a novel the article focuses on two of them: a translator should stick
to the original text with taking the semantic fields differences into account
while s/he should keep the atmosphere of the source language, making as little
changes in the target language as possible. Marking a translator’s existence in a
text is strongly connected with a perlocutionary act. A great example of the
translation that covers both principles is The Godfather, written by Mario Puzo
and translated from English into Polish by Bronisław Zieliński. He translated
only English words into Polish, leaving the target Italian words with no
metamorphosis. The article presents the effect obtained by such an action.
