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This article compares two cases of poetic self-translation in two different periods in the development of modern Swahili literature – Euphrase Kezilahabi in Tanzania of the 1970s and Kithaka wa Mberia in Kenya of the 2000s. These writers represent two different literary situations and two different statuses that Swahili literature had achieved in the respective periods. The main argument in the article is that the two writers in their works seem to have a similar aim – to familiarise wider audiences on the national level with elitist poetic forms. The differences in both cases are determined by the specific socio-cultural context.

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The 19th-century Swahili poet Muyaka bin Haji al-Ghassaniy composed several poems in opposition to the Omani Empire’s invasion of his native Mombasa. In this paper, I focus on one such poem, “Ngoma ya Kizungup’ia”, which has not been studied as comprehensively as many others. I unpack the cultural, choreographic, and poetic significance of the kiumbizi dance form, which serves as one of its central tropes. In light of Muyaka’s poetic invocation of this dance and the historical, political and performative context of 19th-century Swahili war poetry, I apply the rhetorical and literary framework of Signifyin(g) to gain a deeper understanding of the political intentions and poetic execution of Muyaka’s resistance poetry, as distinguished contextually and ideologically from his earlier war dialogue poems. Finally, I reflect on my own experience translating the poem into English using methods of creative transposition, and conclude that the inextricability of the poem's hermeneutic and poetic values renders it especially difficult to translate.

[pt] Com base no conceito de tradução ilusionista, de Jirí Levý, este estudo investiga a tradução de diálogos em obras literárias. Amparada nas premissas de Marcos Bagno de que nem as camadas cultas da sociedade falam segundo o prescrito nas gramáticas normativas, esta pesquisa subscreve a noção de que vivemos em uma diglossia no que se refere ao registro. A partir da década de 1970, segundo John Milton, o mercado editorial brasileiro cada vez mais adota o princípio do efeito de verossimilhança quando da recriação do discurso direto de personagens em língua portuguesa - conforme estabelecido por meio da comparação de três versões de As aventuras de Huckleberry Finn, de Mark Twain. Em seguida, por meio da tradução comentada do romance May We Be Forgiven, da escritora americana A. M. Homes, verificamos as marcas de oralidade já aceitas no mercado editorial. Por fim, o trabalho busca novas marcas em gramáticas descritivas da língua falada culta. / [en] Based on Jiří Levý s concept of illusionist translation this study investigates the issue of dialogue translation in literary works. Supported Marcos Bagno s observation that not even cultivated people speak according to the rules of prescriptive grammar, this research endorses the notion that we live in a register diglossia. Since the 1970s, according to John Milton, the Brazilian publishing market has been more open to the principle of the verisimilitude effect when it comes to recreating characters direct speech in Portuguese — a statement that will be verified through the comparison of three Brazilian versions of The Adventures of Huckleberry Finn, by Mark Twain. Next, through the commented translation of excerpts from May We Be Forgiven, a novel by American writer A. M. Homes, we verify which orality markers are already accepted by the publishing market. Finally, this study also seeks new markers in descriptive grammars of standard spoken language.

This study assesses the translation accuracy of ChatGPT-4 against two human translators, Donald Keene and Mark Gibeau, focusing on the first 50 sentences of Osamu Dazai's Japanese novel "Ningen Shikkaku" translated into English. In the rapidly advancing field of artificial intelligence, where AI increasingly integrates into fields such as translation traditionally occupied by humans, it examines the effectiveness and reliability of AI incapturing both the literal and figurative meaning of a literary text. A significant gap in the field is the scarcity of comparative studies between AI and human translators, and all the more so in Japanese-English translation. Most existing research on AI translation focuses on European languages or evaluates AI against other machine translation tools. The study employs a translation quality assessment framework based on how erroneous the translations are, where either one or two points are deducted for each error depending on severity to evaluate the accuracy of each translation. The identified error types are grounded on the standardized error marking system utilized by the American Translators Association, and endeavors to provide an objective measure of translation quality. The results of the study show that ChatGPT-4's translation incurred the least number of point deductions, roughly half as many as those of Gibeau and Keene. Gibeau's translation rankedsecond in accuracy, with Keene's trailing closely behind. The results also reveal that Keene's translation errors typically stemmed from altered words and phrases, while Gibeau's translation rather added, intensified, or omitted elements. ChatGPT-4's translation had fewer errors overall, except in relation to literalness. It is discussed that the utility of AI in literary translation varies depending on whether accuracy or aesthetic is most valued. Nevertheless, translators can already at present utilize AI to manage routine tasks and accelerate translation processes, enabling them to concentrate on aspects such as flow, rhythm, and readability.

Summery This thesis deals with the issue of translation Milos Macourek's fairy tales into Polish. The starting point for the analysis is a comparison of two versions of a translation of selected texts. The author of the first one is Marie Erhardtowa, the second version is translated by Herman Grzeszczyk and Andrzej Kulikowski. The first part of the thesis is a theoretical preparation which explains the basic questions of literary translation. The main goal of the practical part of this thesis is to determine the target groups of readers, followed by an analysis of the particular translation issues.The conclusion contains a summary of findings and an assessment of individual translation in terms of adequacy.

1 Abstract The thesis describes the reception and Czech translations of Story of O by Pauline Réage, an erotic novel which was considered scandalous in its time (1954) and became part of the canon of French contemporary prose. In the first part, the thesis characterizes the structure and style of Story of O. It then presents the specific context of its first publication and places the novel in the evolution of French literature. In this part, the thesis also attempts to describe the reception context in the fifties and compares the situation with how the novel is perceived by the current literary scene and cultural domain in general. In this part of the reception analysis, the thesis relies on critical reviews in French periodicals and reactions on the internet. It also mentions the perspective of literary theoreticians on similarly themed works. In the second part, the thesis introduces two Czech translations and attempts to recreate the reasons which led to the publication of the first translation Příběh O.: krásná z Roissy, Tabu, 1991 by Lucie Erbenová and the second translation Příběh O; Návrat do Roissy, Host, 2005 by Matěj Turek. Furthermore, it presents the reasons for the republication in Host in 2013. The analysis of the current reception in the target culture preceeds the focal part of this thesis...

The present thesis focuses on French Caribbean fiction writers (from Haiti, Guadeloupe, Martinique and French Guiana) in Czech translations. The principal subject of the thesis are the specific challenges that translators have to face when translating these authors into Czech. The description of these challenges is preceded by a general presentation of this type of literature. Chapter 1 traces the development of French Caribbean literature (the concepts of francité, négritude, antillanité, créolité and littérature-monde) and defines its characteristic features (especially communication settings and language choices) from the point of view of postcolonial theories. Chapter 2 adds more features by using the comparison of literary translation and postcolonial writing, revealing that they share certain principles and methods. Specific questions and challenges related to the translation of Caribbean literature are also treated in this chapter. Chapter 3 addresses the issue of French Caribbean fiction in the Czech Republic. It lists sources of information, published translations and reactions to these translations in Czech press and analyses the Czech literary market. The chapter is concluded by a summary of the reception of this literature in the Czech Republic. Chapter 4 analyses the latest...