During the 1990s, Antonine Maillet signed several Shakespearean translations for the Théâtre du Rideau Vert in Montréal. Her work enters the theoretical debate on the glottopolitical role played by theatre within the framework of canon revision and reformulation in post-colonial contexts. The aim of this study is to provide an analysis of the peritexts of theatrical programmes, usually overlooked in translation criticism, which indeed contribute to renew the repertoire through the application of translation practices to the theatrical text.

Starting from the polyphonic enunciation present in Aixa de la Cruz’s novel, this article tries to bring out the complexity of the corresponding process of literary translation. With the achievement of the same outcome on the communicative and stylistic level through the mediation between the instances of the polyphonic dimension of the source text and the pragmatic implications in the Italian translation, the author of this article demonstrates how the relationship of “equivalence” between the two texts can be based on the utterance and its functions and on how the pragmatic and textual dimension of the reported discourse structurally supports the encounter between the two texts.

The “Tetradi perevodčika” Journal was founded in 1958 and appeared almost regularly from 1963 to 1989. Its aim was to host readers in an ideal translator’s atelier, seen as an opportunity for theoretical reflection and discussion on concrete matters arising from everyday translation practice. This paper intends to trace the main lines of development of the lively theoretical-practical debate that animated Soviet culture in the late 1950s and early 1960s.

One of the most notorious difficulties of translating poetry is the temporal, spatial and above all cultural distance between the source and the target language, with respect to the purpose and recipient of the translation. This is especially true for languages that the average Western European reader is unfamiliar with. The eternal question is whether our aim is to preserve the artistic style of the original text or to adapt the translation to the new audience. Another important problem arises when dealing with a text, such as the collection of poems written by Kostà Xetægkaty and first published in 1899 ( Iron fændyr), which marks the beginning of the Ossetic literary tradition. This work is based primarily on local folklore and oral tradition within the dominant Russian cultural and linguistic spaces. The paper presents the figure of the poet and discusses some issues and perspectives regarding the translation of his masterpiece into Italian according to the phonological, lexical, and metrical levels.

The five translations of the Ivo Andrić’s short story The Bridge on the Žepa published during the period of almost seventy years will be analysed with respect to the primary time distance referring to the archaisms woven into the original text and the secondary distance referring to the time separating the original text from the translation. The aim of this paper is to understand the extent to which the lexical and functional stratification of a text distant in real and artistic time can be maintained.

In its first part, the essay deals with some issues related to the Italian translation of Miron Białoszewski’s Pamiętnik z powstania warszawskiego (1970) from a comparative perspective with the American (1977, 2015), French (2002), Spanish (2011), and German (2019) translations. In its second part, the paper reviews the critical reception of the Italian edition (2021) of this classic of twentieth-century Polish literature.

The article examines the English version of some poems by the Russian writer Nina Iskrenko (1951– 1995), included in the collection The Right to Err (Washington 1995) and translated by the American poet John High. Considering High’s observations in the introduction of the work, I will analyze the translation process as an existential dialogue between two intersecting poetics, leading to the liberation of language from any ideological connotations.

This paper analyses Stanisław Barańczak’s translation of Ursula K. Le Guin’s novel A Wizard of Earthsea. An overview of the first publications of the American writer in Poland is followed by a description of the obstacles that were encountered by Stanisław Lem when trying to publish Le Guin’s novel in the book series that he directed. Subsequently, Stanisław Barańczak’s translation is analysed to show the strategies that he adopted, the recurring techniques, and the problematic renderings due to a lack of familiarity with the fantasy genre.