Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ... Prace komisji nauk.pdf - Instytut Filologii Angielskiej Uniwersytetu ...
frame of musical limitations must be considered in addition to the above-mentioned impediments. A translator must work within the musical frame which, in many instances, is unfit for the target language 46 . This leads to the conclusion that many elements of the source texts have already been lost and a translator must win back as many of those elements as it is possible. The more that are retrieved, the more faithful to the original the target text becomes. Considered from this perspective, the process of translating song lyrics is based on reconstructing the original and involves a great deal of inventiveness.. It may seem, paradoxically, that the frame of constraints, i.e. mainly the musical structure within which the target text has to be fitted, limits translators and, at the same time, requires much creativity on their part (Holman & Boase-Beier 1999: 13 – 17). This inventiveness makes the very act of song translation possible. Kołakowski (2007) suggests that the constraints do not limit but facilitate translation of song lyrics, since a translator has more freedom in composing the semantic layer of the target text. Keeping this in mind, perceiving very the process as translation becomes a debatable issue. Assuming that the target text is “recognized as representing the source text of about the same length” (and when considering songs the length simply must be retained due to the musical structure), it can be defined as 46 This is often the case in the instance of English-Polish translations of song lyrics. As regards song translation, the essential differences can be divided into three groups: semantic density, rhythm and grammatical divergence (see also Lauer 2001). The first points to the fact that Polish words are notably longer than English ones. It does not play any role in translating a significant majority of texts except for those that require the recreation of the rhythmic structure e.g. some translations of poetry and translation of song lyrics. Therefore, condensation of meaning in translating English lyrics into Polish is inevitable. To convey the rhythmic pattern of the original, a translator must consider the different nature of stress in English and Polish i.e. syllable- vs. stress-timed, and the fixity of Polish word stress, which considerably handicaps any reshuffling in a line. However, the freer word order of Polish makes the task of recreating the rhythm of the source text much simpler. 224
adaptation (Bastin 1998: 5). According to Vinay and Darbelnet (1995: 35), the term adaptation may have broader application and can be regarded as a catalyst for cultural gaps in translation. But with so many limitations in the case of translating song lyrics it can as also function on the level of form, style, etc. Therefore, as Kołakowski (2007) argues in referring to song lyrics, the process of recreating the source text by means of the target language is “bound to be adaptation”. It can be easily noticed, however, that the translated texts show different degrees of fidelity to the original. Some of them are significantly faithful to the target text on the semantic level, while others manifest a notable degree of creativity on the part of the translator. Considering adaptation, it should be stated clearly that the very term is highly unclear. The boundary between what can be called translation and what can be referred to as adaptation is not clear-cut. (To emphasize the close relationship between translation and adaptation a new term, tradaptation, has been coined (Bastin 1998: 8). Furthermore, the changes to the target text can be applied either to a certain part of it or to the whole text. These techniques are referred to as local adaptation and global adaptation, respectively (Bastin 1998: 7). Taking these controversies into consideration, it can be stated that the more the text is changed relative to the source text, whether domesticated or poeticized, the more acceptable the use of the term adaptation becomes. It is also worth noting that in the case of altering the source text, translating song lyrics fluctuates between translating poetry and vocal translation. The former does not involve the limitations imposed by the musical frame and therefore the need to adapt the target text on different levels is considerably less urgent. The latter results in a high degree of adaptation to render the smallest musical aspects, e.g. the vowel pitches, even at the expense of disregarding the meaning (Zagórski 1975). 225
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frame of musical limitations must be considered in addition to the above-mentioned<br />
impediments. A translator must work within the musical frame which, in many<br />
instances, is unfit for the target language 46 . This leads to the conclusion that many<br />
elements of the source texts have already been lost and a translator must win back<br />
as many of those elements as it is possible. The more that are retrieved, the more<br />
faithful to the original the target text becomes. Considered from this perspective,<br />
the process of translating song lyrics is based on reconstructing the original and<br />
involves a great deal of inventiveness..<br />
It may seem, paradoxically, that the frame of constraints, i.e. mainly the<br />
musical structure within which the target text has to be fitted, limits translators and,<br />
at the same time, requires much creativity on their part (Holman & Boase-Beier<br />
1999: 13 – 17). This inventiveness makes the very act of song translation possible.<br />
Kołakowski (2007) suggests that the constraints do not limit but facilitate<br />
translation of song lyrics, since a translator has more freedom in composing the<br />
semantic layer of the target text.<br />
Keeping this in mind, perceiving very the process as translation becomes a<br />
debatable issue. Assuming that the target text is “recognized as representing the<br />
source text of about the same length” (and when considering songs the length<br />
simply must be retained due to the musical structure), it can be defined as<br />
46 This is often the case in the instance of English-Polish translations of song lyrics. As regards<br />
song translation, the essential differences can be divided into three groups: semantic density,<br />
rhythm and grammatical divergence (see also Lauer 2001). The first points to the fact that<br />
Polish words are notably longer than English ones. It does not play any role in translating a<br />
significant majority of texts except for those that require the recreation of the rhythmic structure<br />
e.g. some translations of poetry and translation of song lyrics. Therefore, condensation of<br />
meaning in translating English lyrics into Polish is inevitable. To convey the rhythmic pattern<br />
of the original, a translator must consider the different nature of stress in English and Polish i.e.<br />
syllable- vs. stress-timed, and the fixity of Polish word stress, which considerably handicaps<br />
any reshuffling in a line. However, the freer word order of Polish makes the task of recreating<br />
the rhythm of the source text much simpler.<br />
224
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