Literary Project 3200-M2-2PROJL
Patrycja Spytek, PhD
The project meets the expectations of the students of the Institute of Specialist and Intercultural Communication, who in university practice associate with various forms of specialist translation - above all professional (legal, economic, medical, pharmaceutical). The workshops will familiarize students with the specificity of artistic translation. Which, as the name suggests, is not only a translation from the A language into the B language of the written text, but above all an artistic form of expression, and thus requires special preparation of the person undertaking the effort of literary translation. Working on a text previously unpublished in Polish translation will encourage the Student to think creatively and work on a "living organism".
Aleksandra Piekarniak, PhD
The project will show students the full possibilities of artistic translation, show its limits, discuss its basic elements from the theoretical side, and familiarize students with the practical side. Students will look at two different translations of the same literary work, the classes will discuss the choices of translators, working in a group and partly individually, we will also prepare a new version of a literary work. The book already belongs to the classics of Italian literature of the 20th century, but, despite many attempts and changes, has not yet been faithfully translated.
Tomasz Łysak, prof.
During this class we will trace contemporary forms of autobiography, also called autobiographic acts. In the past, autobiography used to be an elite genre, written by men toward the end of their public or artistic careers. From the mid-20th century we can observe a shift to make this practice more democratic. Recently, this trend accelerated due to technologies of self-expression. We are going to talk about autobiographical form (traditional, audiovisual, graphic novel), new media (documentary film, social media, selfie) and heretofore neglected topics (trauma, disability, the body).
Type of course
Prerequisites (description)
Course coordinators
Term 2025Z: | Term 2024Z: | Term 2025L: |
Learning outcomes
Education effects:
Knowledge:
- has an indepth, organised, and detailed knowledge of autobiography as a cultural practice, being a subject of literary studies and cultural studies (K_W04, S_W04)
- knows and understands advanced methods of analysis, interpretation, assessment and conceptualisation of popular and high culture texts in literary studies and/or cultural studies (K_W07)
- has a basic understanding of cultural institutions in the United States and knowledge of contemporary cultural life (K_W10)
Skills:
- can search, analyze, assess, select and integrate information from a variety of sources and propose critical thoughts in literary and cultural studies (K_U01)
- knows how to integrate knowledge from different disciplines in the humanities and can apply it to analyze culture and translated texts (K_U04)
- can critically analyze and interpret popular and high culture texts, applying original approaches, borrowed from literary and cultural studies, in order to arrive at their meanings, social impact and its place in the historical-cultural process (K_U05)
- can formulate criticial opinions on cultural texts on the basis of the humanities and experience as well as can present critical interventions in different forms and media (K_U07)
Social competence:
- correctly identifies and solves problems in intercultural communication within popular/high culture, caused by differences in linguistic systems and cultural differences, within literary and cultural studies and other relevant disciplines dealing with cultural reality of given countries (K_K04)
- is an active consumer of popular/high culture of the given country and in Poland, aware of the holistic model of culture (K_K06)
Assessment criteria
Methods of student work evaluation:
- Weekly evaluation (preparation and active participation),
- End-of-term project work – translating course-related texts (texts translated from a foreign language into Polish).
The course final grade will consist of:
- 50% weekly evaluation,
- 50% end-of-term project work.
Percentage-to-grade policy:
96%-100% – 5!
90%-95% – 5
85%-89% – 4+
80%-84% – 4
70%-79% – 3+
60%-69% – 3
Translation grading criteria:
- conveying the original message;
- terminology and phraseology;
- grammar;
- style.
Basic rules:
1. Absences – students are allowed to be absent twice (no explanation required).
2. Preparation – students are obliged to be duly prepared for each and every class. In extraordinary circumstances, students are allowed to be unprepared (eg. no homework translation brought) twice a term.
Bibliography
Patrycja Spytek, PhD:
1. Р. Р. Чайковский, Н. В. Вороневская..., «Художественный перевод как вид межкультурной коммуникации. Основы теории», Москва 2014.
2. «Мир литературного перевода», АНО «Институт перевода», Москва 2015.
3. «Мир литературного перевода», том 1-2, АНО «Институт перевода», Москва 2018
Aleksandra Piekarniak, PhD
1. Bassnett, S. (1993): La traduzione. Teorie e pratica, Bompiani, Milano;
2. Ricoeur, P. (2008): Tradurre l’intraducibile (a cura di OLIVA, M.), Urbaniana University, Press Città del Vaticano;
3. Zivanovič, D. (1975): Granice możliwości w przekładzie, in POLLAK, S. (ed.): Przekład artystyczny. O sztuce tłumaczenia księga druga, Wrocław, 367-379.
4. Il grande dizionario Garzanti della lingua italiana.
Tomasz Łysak
Living autobiographically – spis literatury
Lektury:
Eva Hoffman, Lost in Translation: A Life in a New Language, New York: Penguin Books, 1990.
Baroness ‘Chlorine and Wine’; Architects ‘Doomsday’.
Any One of Us, dir. Fernando Villena, 2019, USA.
Skin Decision: Before and After, Netflix 2020.
Jim Collins, Good to Great: Why Some Companies Make the Leap . . . and Others Don’t, New York: Harper Business, 2001.
Alison Bechdel, Fun Home, Mariner Books 2006.
Marjane Satrapi, Persepolis, New York: Pantheon Books 2003. Persepolis, dir. Marjane Satrapi, Vincent Paronnaud, 2008.
Michelle Obama, Becoming, New York: Crown, 2018.
Thomson Craig, Blankets, Top Shelf Productions, 2003.
Brian ‘Head’ Welch, ‘Save Me from Myself’.
Sherman's March: A Meditation on the Possibility of Romantic Love In the South During an Era of Nuclear Weapons Proliferation, dir. Ross McElwee, 1985.
Omówienia:
William Lowell Randall, ‘The Aesthetics of Living’, in The Stories We Are: An Essay on Self-Creation, University of Toronto Press, 1995, 19-79.
Paul John Eakin, ‘Living Autobiographically’, Biography 2005, Vol. 28, No. 1, 1-14.
Mita Banerjee, ‘Trauma, Repatriation, and Representation: Life Writing as an Alternative Form of Knowledge Production’, in Medical Humanities in American Studies: Life Writing, Narrative Medicine, and the Power of Autobiography, Heidelberg: Universitätsverlag Winter, 2018, 307-336.
Ariana Phillips-Hutton, ‘Private Words, Public Emotions: Performing Confession in Indie Music’, Popular Music 2018, Vol. 37, No. 3, 329-350.
G. Thomas Couser, Signifying Bodies: Disability in Contemporary Life Writing, University of Michigan Press 2009, 16-30.
Simon Strick, ‘Visceral (Auto)biographies: Plastic Surgery and Gender in Reality TV’, in Embodied Politics in Visual Autobiography, Janice Hladki, Sarah Brophy, University of Toronto Press 2014, 119-133.
Megan Brown, ‘Selling Subjectivity: Business Memoirs as Biopolitical Management’, in American Autobiography After 9/11, Madison: University of Wisconsin Press, 2017, 86-98.
Merete Mazzarella, ‘Writing about Others: An Autobiographical Perspective’, in The Philosophy of Autobiography, Christopher Cowley ed., Chicago: University of Chicago Press, 2019, 178-192.
Derf Backderf, My Friend Dahmer, New York: Abrams Comic Arts 2012.
Julia Watson, ‘Autographic Disclosures and Genealogies of Desire in Alison Bechdel’s Fun Home’, in Graphic Subjects: Critical Essays on Autobiography and Graphic Novels, Michael A. Chaney ed., University of Wisconsin Press 2011.
Nima Naghibi, A Story Told in Flashback: Remediating Marjane Satrapi’s Persepolis, Graphic Subjects: Critical Essays on Autobiography and Graphic Novels, Michael A. Chaney ed., University of Wisconsin Press 2011.
Sidonie Smith and Julia Watson, ‘Virtually Me: A Toolbox about Online Self-Presentation’, in Identity Technologies: Constructing the Self Online, Anna Poletti, Julie Rak eds., Madison, WI, The University of Wisconsin Press 2013, 70-95.
Paul Newly and Gregory Perreault, ‘The First Lady of Social Media: The Visual Rhetoric of Michelle Obama’s Twitter Images’, Atlantic Journal of Communication 2018, Vol. 26, No. 3, 164-179.
Marian Meyers & Carmen Goman, ‘Michelle Obama: Exploring the Narrative’, Howard Journal of Communications 2017, Vol. 28, No. 1, 20-35.
Lori L. Fazzino, ‘Leaving the Church Behind: Applying a Deconversion Perspective to Evangelical Exit Narratives’, Journal of Contemporary Religion 2014, Vol. 29, No. 2, 249-266.
Diane Stevenson, ‘Coincidence in Ross McElwee’s Documentaries’, in Three Documentary Filmmakers: Errol Morris, Ross McElwee, Jean Rouch, William Rothman, SUNY Press, 2009, ed., 63-71.
Leah Anderst, ‘“I’ve spent a lot of time looking at these images”: The “Viewing 'I'” in Contemporary Autobiographical Documentary’, a/b: Auto/Biography Studies 2013,Vol. 28, No. 2, 212-241.
Kylie Cardell and Kate Douglas, ‘Visualising Lives: “The Selfie” as Travel Writing’, Studies in Travel Writing 2018, 1-14.
Rachel E. Dubrofsky, ‘Frayed Edges: Selfies, Auschwitz, and a Blushing Emoticon’, a/b: Auto/Biography Studies 2018, Vol. 33, No. 3, 595-603.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: