Selected Translation Series of Children's Literature Classics and their Reception in Poland

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1 Selected Translation Series of Children's Literature Classics and their Reception in Poland Anna Fornalczyk, University of Warsaw Citation: Fornalczyk, A. (2015), Selected Translation Series of Children's Literature Classics and their Reception in Poland, G. Bazzocchi, P. Capanaga, R. Tonin (eds.), Perspectivas multifacéticas en el universo de la literatura infantil y juvenil, mediazioni 17, ISSN Introduction This paper addresses problems which only occasionally become the focus of attention on the part of researchers in the areas of children's literature and translation studies. The aspects in question are the functioning of the whole translation series and the reception of translations, including their professional and popular critique. It seems that these issues are underestimated not only in the field of children's literature, but are rarely touched upon in critical discussion of literature as such. For example, the recent report on the situation of literary translators in Poland (Paszkiet 2011) highlights the lack of feedback as one of the seven main reasons behind the low quality of translations. Paszkiet describes translation critique as poor and limited, unable to reach public discourse; he emphasises the fact that books are rarely written or spoken about in the media, and cultural institutions do not stress the role of translations as reading material. As a matter of fact, while reading reviews of newly published books (especially in the popular press) one cannot help but wonder why the quality of translation or even the very fact that the book is a translated one is hardly ever mentioned. Sadly, the same often seems to be true about more serious publications. Perhaps with the exception of the monthly Literatura na świecie ( Literature in the world ), which publishes articles in the field of literary 1

2 and comparative studies, and includes translation critique, it is difficult to find detailed and professional translation reviews. In this situation, critical reflection from the academic world seems to be essential for the proper understanding of the role translators play, transferring new works into the target language literary system. Fortunately, one can observe that with the development of translation studies, more and more bachelor s, master s, and doctoral theses include sections on the quality of translations. Also, there is the growing number of conference papers and publications devoted to the issue in question, although, as it seems, one would still have to wait for comprehensive monographs in the field of literary translation critique, especially as regards children s and young adult literature (Adamczyk-Garbowska s work from 1988 is one of very few exceptions). My aim in writing this paper is to present the situation of literary translation critique in Poland using specific examples. I will analyze the translation series and the reception of two classics which have achieved an iconic status in both source and target language cultures, namely, Milne's Winnie-the-Pooh and Carroll's Alice's Adventures in Wonderland. Neither seems to need a detailed introduction, as both have been widely read, frequently retranslated and republished, and still evoke lively reactions from scholars and readers alike. The popularity of the books is enhanced even further by the popular culture, suffice it to mention Disney s cartoon versions of both stories, Tim Burton s film adaptation Alice in Wonderland (2010), numerous theatre plays and radio broadcasts, and the production of commercial gadgets, toys, clothing and accessories featuring the images of the main characters. Both Winnie-the-Pooh and Alice's Adventures in Wonderland have been enjoying a privileged position in the group of Polish translations of English children s literature from the Victorian and Edwardian period. Other works, although quite popular among readers, did not manage to attract as much critical attention as the two in question. The translations of James Matthew Barrie s Peter Pan, Frances Hodgson Burnett s Little Lord Fauntleroy, Rudyard Kipling s Just so stories for little children, Hugh Lofting s Doctor Dolittle series, or Edith Nesbit s works for the young readers have been only marginally commented on. 2

3 Subsequent translations of Milne s and Carroll s books are often subject of controversies. Let me introduce first the translation series of Winnie-the-Pooh and the position each translator occupies within it, and, later, focus on the reception of specific translations. It seems important to notice at this point that only complete versions of the books were accounted for I excluded from the analysis a plethora of adaptations, abridged versions or booklets featuring the main protagonists, which were only loosely based on Carroll s and Milne s respective works. 2. Winnie-the-Pooh translation and reception Winnie-the-Pooh has been translated into Polish three times, by Irena Tuwim, Monika Adamczyk-Garbowska and Bohdan Drozdowski. The first translation by Tuwim, published in the 1940s, is still reprinted, as the most popular Polish version. In 1986, Monika Adamczyk-Garbowska's version Fredzia Phi-Phi appeared, which triggered a fierce discussion in the academic world and among readers. The third translator accepted the already established solutions (including the rendering of proper names) and corrected some mistakes of his predecessors as a result, he was accused of plagiarism. The first Polish version of Winnie, published 12 years after the original work, enjoys unflagging popularity, although the translator introduced so many changes that some consider it an adaptation rather than a translation. Tuwim herself adopted a very specific stance on translating for children: The language of a book for children I mean the language of the translation must be simple, clear, flawless, definite... The vocabulary of a child is limited, it can and should be enriched, but in appropriate measure and skillfully. The necessity of manoeuvring within such a limited framework, while still presenting novel things of an appropriately high level is the reason why translating a book for children is so difficult. Sometimes the publishers are to blame, when they require stiff literal translation of realia, preservation of names and even sometimes name forms completely contrary to the rules of the Polish language. What conclusion can be drawn? In order for the translator to present high-class literary works, a significant freedom is essential in all translations. In many cases, which can only be specified individually, although these would usually be books for the 3

4 very youngest children, one should accept adaptation, and not translation as a rule. (1977: ) Tuwim consequently followed these principles in her translation practice, adding diminutives and deleting many language plays, as well as correcting spelling mistakes, which were intended by Milne, thus losing the subtleties and ambiguities of Milne's language. She aimed at making the text easily accessible to child readers. The second translator, Monika Adamczyk-Garbowska, decided to translate Winnie-the-Pooh because she was convinced that the earlier translation was not faithful, written to match the canons of Polish children's literature. Its linguistic layer, devoid of the subtle humorous elements representing Milne's style, strongly misshaped the original (Milne 1986: 5-7, the translator's foreword). Although interesting, Fredzia Phi-Phi was unable to compete with the already established first version. Adamczyk-Garbowska deliberately used foreignisation. Her choice for the title character's name, however, 'Fredzia Phi- Phi, seems to be quite controversial. Readers accustomed to the uncomplicated Kubuś Puchatek are now faced with a name the gender of which does not correspond with its bearer, retaining the original discrepancy and the complex character of the personal names. What is more, she avoids using hypocoristic forms, so typical of children's literature written in Poland; her text sometimes sounds unnatural and violates the rules of the Polish grammar norm. In press reviews, already before World War II, Irena Tuwim's version has been unanimously recognised as a masterpiece. It was immediately absorbed into the cultural heritage of Polish, as many expressions entered everyday language use, and the Polish name of the bear, Kubuś Puchatek, is often bestowed on kindergartens and streets 1. As a consequence, any further translations were approached with indignation as profanation or provocation (Drozdowski 1997), 1 The situation is further complicated by the fact that nowadays Winnie is best known thanks to Disney. Paradoxically, in Poland Disney cannot use the first, most popular and copyrightprotected translation in its films. The company thus had to change e.g. the name of the Hundred-Acre-Wood (Stumilowy Las) into Hundred-Ages-Old-Wood (Stuwiekowy Las), and uses the name 'Kubuś', without 'Puchatek' ('Winnie' without '-the-pooh' element, cf. 4

5 a statement against the Pooh tradition (the underlying assumption of which is that any potential discrepancies between the source and target text, any illogicalities and internal contradictions do not count it is enough that the translation is so charming and ingrained in our culture). A few quotes about Tuwim's version: [no other translation] can compete with this one (Kulesza 2000), which is the best of the best (Kęczkowska 2005), still funny and aptly rendering the author's ideas (Sawicka 1986), wonderfully translated (Czeszko 1962), unequalled (Komorowska 1996), an outstanding work of our own literature (Kydryński 1970; emphasis mine), prepared by a brilliant translator (Kydryński 1993). The text, due to its popularity in the target language culture, is compared to... the Bible (Czeszko 1962). These commentaries come from articles and readers' letters to the editor, published in popular press and magazines. They are usually written from an emotional perspective by adult readers encountering a text well-known from their childhood. In most cases, the readers had no linguistic background and were not familiar with the original version of the story. Sadly, such opinions were multiplied also by professional reference works, e.g. Tylicka and Leszczyński (2002). The only comments that I found which were critical of Tuwim's version were those by her followers, Adamczyk-Garbowska and Drozdowski. After reading their remarks it becomes obvious that, when approached critically, Tuwim's version may be justly regarded as patronising, infantile and devoid of the contexts and messages implied by the original. It abounds in serious linguistic mistakes and misunderstandings (to give just one example, Winnie is sittting at the sandy place practising jumps (!), which is accompanied by pictures of the bear clearly standing). Adamczyk notices that whereas Winnie's poems sound artificial, with far-fetched rhymes, the Polish bear writes quite good rhymes in the best Polish tradition (Gnot 1987). The strong position of this translation meant that subsequent ones were doomed to failure. The publication of the second translation sparked off a real storm. The translator was attacked in a most primitive and brutal way. A few quotes from this time: a translator may prove to be the largest threat to the author's work (Różycki 1987), the new translation arouses astonishment, abomination and disgust, the translator wanted [ ] to be original at any price, 5

6 did not notice the area between the words [...] where the relationships between the protagonists and the readers are created (Rakowiecki 1987). Some critics warned their readers against reading the second version, calling it a mistake (Kydryński 1993). Voices of praise or defence were few. What was appreciated, though, was Adamczyk's courage to question the authority of the earlier translation (the absolute rule of which spanned over the previous 50 years) and her conscientiousness (Rakowiecki 1987). [S]he showed the truth (Filip 1987), exposing the inventiveness of the original, its puns, neologisms and ambiguities (Jarniewicz 1987), in one word all its flavours, considered by Tuwim too difficult to render, making it a story for both children and adults. Some readers are surprised by the dogmatic, principled spitefulness brought against the new translator, who simply suggested something different (Filip 1987). This debate was crucial in the Polish critical discourse on translation. On the one hand, it popularised the issues of translation and brought children's literature into the spotlight. On the other hand, however, it pitilessly exposed the weaknesses of the critique, hardly ever based on a thorough knowledge of the subject matter (or at least of the original language), in which emotions and sentiments, and the force of habit, tend to prevail over critical reflection. A similar discussion has taken place on Internet forum devoted to Winnie. Interestingly, the heated debate has not come to an end, even though the second, controversial translation was published 27 years ago (cf. e.g. Stopka 2012 online and others). Proponents and opponents of the competing versions express their likes and dislikes online, using linguistic, translation, library forum and blogs. Interestingly, opinions generally expressed are basically the same as the ones discussed above, in the press. Unbiased, professional reflection on the translations may be found in academic sources, including monographs, conference papers, articles in professional journals. The issues in question have been so popular with BA and MA students that at many universities (including the University of Warsaw) they are now forbidden as theses subjects. However, such works will not be analyzed here as they are beyond the scope of this paper. 6

7 To sum up this section, the first translation has become an intrinsic part of the Polish literary system (cf. Kydryński 1970). Itdominated subsequent versions and still occupies the central, canonical position. Approached as independent from the original, it is consequently more than translation Tuwim is thought to have re-written Winnie for the Polish reader, co-creating with Milne (Żukrowski 1973). The critical debate on the translation series of Winnie focused on the old vs new and domesticated vs foreignized, with preference to the first notion in each pair. Translators justified their approach and made prescriptions on how to translate children s literature in general. Readers in turn praised or criticised translations on the basis of their attachment to Tuwim's version they knew from childhood. 3. Alice's Adventures in Wonderland translation and reception The second part of this paper is devoted to another classic, Lewis Carroll's Alice's Adventures in Wonderland (1865). There are ten Polish translations, published over the span of over one hundred years. Unlike in the case of Winnie-the-Pooh renderings, where the critical discussion was often reduced to the problem of proper names, the debate over the Alice series cannot be said to be focused on one selected aspect. The subsequent target language versions are described predominantly in terms of their overall shape, general translation strategy and place they occupy within the translation series. The first Polish translation by Adela S. (Przygody Alinki w krainie cudów) was published in It is a mysterious version, of which many have heard, but few held in their hands (it was lost for decades and only recently found by Ewa Rajewska). Written in agreeable Polish, it was transformed into a conventional children's book. Numerous omissions (of riddles, poems and puns) were aimed at speeding up the narrative. It had references to the Polish culture, e.g. Polish princes replaced William the Conqueror. This version probably proved insufficient, as seventeen years later, in 1927, the same publishing house ordered a new translation, by Maria Morawska, titled Ala w krainie czarów. It had numerous reeditions and has often been used in schools as obligatory 7

8 reading (it was republished in 2007 and 2010, which might be considered a serious mistake, as the book is anachronistic from today's perspective cf. Knap 2008: 32). It was a free translation, devoid of much of the original atmosphere. Nonsense and the absurd disappeared, every illogicality was promptly explained, which killed the humorous elements. Instead, the readers received a naïve, simplified, sentimental and moralizing story. Alice is a pattern of behaviour, caring for others and their needs, often mentioning her parents and thinking whether they would approve or disapprove of her behaviour which is totally absent in Carroll's version, where the protagonist is shown as an independent, clever and slightly selfish girl. Some critics feel that the translator turned Carroll's masterpiece into childish babble, a conventional story for children, as if a parody or the original (Stiller 1990: 15). Paradoxically, some critics (Tatarkiewicz 1973) see numerous mistakes resulting from misunderstanding the original as added value of the translation they make the story even more intricate and incomprehensible, amplifying the atmosphere of the dream. It is worth mentioning that Morawska established a certain translation tradition, rendering wonderland ('kraina dziwów') as magicland ('kraina czarów); all subsequent translators sustained her version. The first complete version of Alice appeared in 1955 (Antoni Marianowicz, Alicja w Krainie Czarów) and has been enjoying immense popularity to this day, thanks to its humour, readability and beautiful language full of puns. According to the National Library, this version had the largest number of reeditions. Marianowicz decided to use cultural analogy, Polish proverbs and names, he replaced the poems Carroll parodied with rhymes from the Polish tradition. His version is devoid of excessive didacticism and infantile language. As a satirist, Marianowicz included a load of nonsense and humor to the degree that his ingenuity stifled the style of the original author (Rajewska 2004: 45; also Nowicki 1970). Marianowicz is more comical than Carroll and his version reads best (Baltyn 1998: 28). However, the novel in his translation did not reveal its full potential as a book with double-address. Marianowicz did not manage to provide a mistake free version either one of the best-known ones appears in the introductory chapter, when Alice is sitting on a bench, not on the river's bank (an interference from German?), which was reprinted in this way for forty years (!). Interestingly, the version that appeared under the Communist rule, could not 8

9 allude to social classes, therefore one of the excerpts (when Alice is worried that she might be Mabel, who suffers from the lack of toys and lives in a poor house) was eliminated. A decade later, in 1965, Alice inspired the translator of Ulysses and the first man in the world to translate all of Shakespeare's works. Maciej Słomczyński, after his twelve-year-long work on the Polish translation of Joyce's masterpiece, found all other books childishly simple, with two exceptions: Alice's Adventures in Wonderland and Paradise Lost. Both included challenging formal problems, but he felt that Carroll's work would challenge him to give new meanings to simple, well-known words in order to aptly render the atmosphere of the dream dreamt in Victorian England (cf. Słomczyński 2001: 6). His Przygody Alicji w Krainie Czarów was the first Polish translation which did not include any additions from the translator. Instead, it was full of references to the English language and culture. Second in popularity (after Marianowicz's), this version is generally considered a tale appropriate for adults rather than children (although the translator wanted to preserve its both dimensions as a book for children and adults), based on the laws of the dream, expressing the language and grammar of subconsciousness. The convention of the dream was shown by adapting Polish to the rules of English syntax and grammar. The language of this version is reminiscent of philological translation, it intentionally extends the generally accepted norm of the target language. Although the translator himself admits that his language is far from beautiful Polish, it nevertheless best suits his purpose. This version was described by the critique as very original and conscientiously prepared (Baltyn 1998: 28), attempting at maximum faithfulness to the original, but also as a Polish text for the English (Kozak 2000: 25), appropriate for adult masochists only (Baltyn 1998: 28), devoid of humour and charm, full of indigestible anglicisms (Ziemianin 1996). Twenty years later, the four existing translations were summed up in the following way: That can't be we still do not have an accurate translation of such an extensively necessary work! If Słomczyński does not want to improve his translation and he is probably not going to I have made my decision. These were the words of Robert Stiller (1990: 16), another renowned translator, also referred to as the critic of other translators (Bałtyn 1998: 28), whose 9

10 leitmotif seems to have been I can do it better. In 1986, he published his version, based on the assumption that translation is nobody's property (Rajewska 2004: 62). He borrowed some of his predecessors' solutions, corrected their imperfections and improved on them, added his own ideas and enriched the whole with Gardner's comments from Annotated Alice (Gardner 1960). His aim was to create the perfect, canonical Polish translation of Carroll's masterpiece, explaining the Victorian background and allusions to the reader. However, despite his aspirations, and although it was full of tasty bits, this version did not displace either Marianowicz's or Słomczyński's translation. Some critics warned against reading Stiller's version, as it exposed the readers to the risk of breaking their tongues (Orliński 1998). In the years to come, five other translators picked up the gauntlet. A conscious effort at interpreting Alice in a new, unprecedented way was undertaken by Jolanta Kozak in She was convinced that the existing translations did not render the full meaning of the original they were too formal, included too many explanations from the translators, and were English-oriented, which made them incomprehensible for the Polish reader. Kozak was the first translator to bring the comical element to the fore (Rajewska 2004: 66), and its main source was the metaphor made real. In Wonderland, everything is turned upside down. Therefore, also the figurative sense of the metaphor is no longer figurative, but literal: Alice almost gets drowned in the pool of her tears, Cheshire Cat and March Hare are real-life creatures. On the surface, Kozak's version looks like a compromise between Słomczyński and Marianowicz, between foreignizing and domesticating. She stays as close to the original as possible, but avoids any artificiality; explains foreign details for the target language reader, but is not tied by the letter of the original, offering a very readable translation. However, according to critics, her version lost some of the logics of the original (Orliński 1998), was nothing special as regarded style the translator changed some established solutions for the sake of change (Baltyn 1998: 28), although the more difficult the text, the better she managed (ibid.: 29). Some position her version between Stiller and Słomczyński (she uses more elegant language than Stiller, but is more economical than Słomczyński). She seems to resemble Marianowicz, but reaches both adults and children (Krajewska 1998:40), 10

11 although there are critics (Orliński 1998) who recommend Kozak to children, reserving Stiller for adults. The following two translations, authored by Iwona Libucha (translator of series of fiction for teenage girls) and Krzysztof Dworak, were published in 2000 and 2010/2013 respectively. They went almost unnoticed and met with few translation-related responses in the media, although Dworak's version was praised for its realistic pictures by Robert Ingpen, who decided to break with the tradition established by Tenniel. Last but not least, Carroll's work attracted the attention of two university professors: Bogumiła Kaniewska (2010) and Elżbieta Tabakowska (2012). Both are practising translators: Kaniewska is known, among others, for her translations of Lucy Maud Montgomery's novels; Tabakowska for rendering Norman Davies' books into Polish. Both translations are bibliophile versions, relatively new, and have not received much attention in the press yet. Online, however, they are often referred to, especially in connection with the release of Tim Burton's film, and praised for their high-quality print and graphic design. The new versions spring up from their authors' many years' critical reflection on the nature of translation. As she specified in interviews, Kaniewska wanted to make her version more accessible to the child, without losing the subtleties of the original. She was searching for the middle way between making the story attractive for the young reader (a path followed by Morawska and Marianowicz) and rendering all its aesthetic qualities (which was emphasised by Stiller, Słomczyński and Kozak). She focused mainly on retaining the simplicity of language and rendering the atmosphere of play and absurd of the world created by Carroll. Kaniewska wrote with the child reader in mind, and wanted to render the subtleties of the original in a comprehensible way. When in doubt, she asked herself the question: Will it be understood by the child reader? (cf. Tabakowska's motivation was cognitive: she translated the book because it was there, as she admits in the translator's afterword, paraphrasing the famous Himalayan climber. Her version is another interpretation, like a returning wave, which does not lay claim to being the last and the perfect one 11

12 ( Its focus was presenting Alice as a girl of today, as much as the original allowed it. Clearly, however, is some sense the original Alice cannot be fully transposed into our world. She retains her distinctive character, just as Tenniel's ideas for pictures traditionally associated with the book are distinct from the ideas of Tove Jansson, whose pictures accompany the new edition. Tabakowska wanted to bring Alice closer to the Polish culture, using poems and songs from the Polish tradition; to appeal to both the adult and child reader by writing in today's language this is why many readers find it one of the best translations. With her version of puns and names, she can compete with some of the best earlier translations, although she focused on making the puns more comprehensible, sometimes at the cost of losing the nonsense and making it more sensible (Górska-Szkop, online). As far as rhymes are concerned, Tabakowska's poems refer not to the tradition known by today's children, but to the tradition known by their parents and grandparents, just as Carroll referred to the poems of his own generation. These last translations show that the eight previous ones were not enough. Probably, it is only a matter of time before Alice tempts another translator. It is more probable than in the case of Winnie-the-Pooh, the translation series of which seems to be closed. Except for the first two translators, all others felt obliged to explain their motivation for producing a new version, offering their own interpretation of the story. Most translators wanted to explain the text to the reader through adaptation or domestication (Morawska, Marianowicz, Kozak, Kaniewska, Tabakowska), and two (Słomczyński, Stiller) focused on the Englishness of the text, using a strongly foreignising approach. Although new versions are commented on by critics and academics, readers are usually passive as regards their comments on the subsequent translations. The readers in blogs and Internet forum focus on the general shape of new editions, e.g. on pictures, which attract more attention than the text (cf. e.g. Bzowa 2010, see also Jędrych 2006, Knap 2008). Also, readers accept the translations of names of the characters, which vary from version to version, but do not seem to influence the reception of the story. According to Rajewska (2004), Polish Alice seems to grow up and become more serious, from a book about strange and funny adventures of a girl (Morawska, Marianowicz) to a parable about the mechanisms of the subconscious, requiring exegesis on the translator's part 12

13 (Słomczyński, Stiller). Rajewska wrote her comment three translations ago, but we can assume that the grown-up and serious girl is now enjoying her childhood again. She is a child without being infantile (Kaniewska, Tabakowska). 4. Conclusion Possibly, no other children's books received more critical attention than Winniethe-Pooh and Alice's Adventures in Wonderland. The lively discussion on their translations is not diminishing and is likely to be enriched by further translators, courageous enough to accept the challenge. Not only professionals, but also journalists and the general public commented on the translations, which shows a growing interest in the quality of translation. Still, many remarks were superficial, made without a thorough knowledge of the original and of translation, repeated without any personal reflection or study. Perhaps not that surprisingly, the most reliable and thorough analyzes of the already existing translations were undertaken by translators. The two books encouraged a different kind of interest. In the case of Winnie, the debate revealed a conservative attitude on the part of critics and readers alike, as it focused mostly on how far the subsequent translations differed from the first, dominant one, which although to a large degree unfaithful became immersed in the Polish culture. The translation series of Alice, on the other hand, does not have any central version, which is why any new attempt at recreating the girl's adventures in Polish arouses curiosity. The rhetoric of discourse on this translation series was quite different than in the previous case, it was not that fierce or spiteful, but showed more openness to new translation solutions. On the book market, most versions function simultaneously (even in the same bookshop, one can easily buy several translations of Alice, which means that new versions did not supplant older ones, which have their devoted audience). Also, the debate in this case seemed to be more professional, based on arguments rather than emotions. 13

14 As regards the problem of translation series, it might be said, using Legeżyńska's (1999: ) classification, that Winnie-the-Pooh series has a clear central translation, to which the others refer. Relations within the Alice series, on the other hand, either include occasional reference (when translators ignored or did not know the previous translations) or, in the case of renowned translators, who consciously disputed with their predecessors, the reference to the earlier versions was systemic. To sum up, the analysis conducted in this paper presents relations within translation series and shows that even if (as some say) translation cannot achieve full resemblance to the source text, new interpretations shed new light on the original work, thus offering readers multiple perspectives to look from. Also, on the basis of the above considerations, it seems crucial to point out that more critical attention needs to be devoted to assessing the quality of translations of children s literature. Here, the translators and publishers also have a role to play, for example, by including the translator s prefaces or afterwords, information about the translator or the translation process. Thanks to the development of the new media, especially the Internet, the translator reader relationship is much less distant than it used to be. This was shown in the Polish realia by the Harry Potter series. Andrzej Polkowski included in his translation a glossary explaining his translation choices as regards names, and encouraged readers to undertake further linguistic research. After the first two volumes were published, some inquisitive readers highlighted a number of mistakes or inconsistencies in translation, editing and proofreading, which were corrected in new editions. Let us hope that the interest in the translation process becomes even more widespread. References Books discussed Carroll, L. (1865) Alice's adventures in Wonderland, London: Penguin Books. 14

15 Carroll, L. (1910) Przygody Alinki w krainie cudów (Transl. Adela S.), Warszawa: Gebethner i Wolff. Carroll, L. (1927) Alaw krainie czarów (Transl. M. Morawska,poems by A. Lange), Warszawa; Kraków; Lublin [etc.]: Gebethner i Wolff. Carroll, L. (1955) Alicja w Krainie Czarów (Transl. A. Marianowicz.), Warszawa: Nasza Księgarnia. Carroll, L. (1972) Przygody Alicji w krainie czarów (Transl. M. Słomczyński.), Warszawa: Czytelnik. Carroll, L. (1986) Alicja w Krainie Czarów (Transl. R. Stiller.), Warszawa: Alfa. Carroll, L. (1999) Alicja w Krainie Czarów (Transl. J. Kozak.), Warszawa: Prószyński i S-ka. Carroll, L. (2000) Alicja w Krainie Czarów (Transl. I. Libucha), Wrocław: Siedmioróg. Carroll, L. (2010) Alicja w Krainie Czarów (Transl. K. Dworak), Warszawa: Buchmann. Carroll, L. (2010) Alicja w Krainie Czarów (Transl. B. Kaniewska), Poznań: Vesper. Carroll, L. (2012) Alicja w Krainie Czarów (Transl. E. Tabakowska), Kraków: Bona. Milne, A. A. (1946) [1938] Kubuś Puchatek (Transl. I. Tuwim.), Warszawa: Wiedza. Milne, A. A. (1986) Fredzia Phi-Phi (Transl. M. Adamczyk-Garbowska.), Lublin: Wydaw. Lubelskie. Milne, A. A. (1994) Kubuś Puchatek (Transl. B. Drozdowski.), Warszawa: Philip Wilson. Milne, A. A. (1999) [1926] Winnie-the-Pooh, Warszawa: Prószyński i S-ka. 15

16 Rowling, J.K. (2001) Harry Potter i Więzień Azbakanu (Transl. A. Polkowski.), Poznań: Media Rodzina. Secondary sources Adamczyk-Garbowska, M. (1988) Polskie tłumaczenia angielskiej literatury dziecięcej. Problemy krytyki przekładu, Wrocław: Zakład Narodowy im. Ossolińskich Wydawnictwo Polskiej Akademii Nauk. Baltyn, H. (1998) Alicja po obu stronach lustra, Nowe Książki 1: Bingham, J. and G. Scholt (1980) Fifteen centuries of children s literature. An annotated chronology of British and American works in historical context, Westport, London: Greenwood Press. Czeszko, B. (1962) Kubuś, Przegląd Kulturalny 4. Drozdowski, B. (1997) Kubuś Puchatek i S-ka, Wiadomości Kulturalne 47: 6-7. Filip, G. (1987) Wielbłąd zostanie z nami., Polityka 30. Fornalczyk, A. (2012) Translating anthroponyms. Exemplified by selected works of English children s literature in their Polish versions, Peter Lang: Frankfurt am Main. Gardner, M. (1960) The Annotated Alice, New York: Bramhall House Clarkson Potter. Gnot, M. (1987) Kim jesteś Puchatku? Rozmowa z M. Adamczyk-Garbowską, Kurier Lubelski 11. Hunt, P. (ed). (2008) Understanding Children s Literature. Second edition, Routledge: London and New York. Jarniewicz, J. (1987) Jak Kubuś Puchatek stracił dziecięctwo, Odgłosy 10. Jędrych, K. (2006) Pomysł na Alicję, Guliwer 2:

17 Kęczkowska, B. (2005) Zawsze ten sam Puchatek, Gazeta Wyborcza Stołeczna 266. Knap, J. (2008) Od Alinki po Alicję polskie dzieje wydawnicze Alicji w Krainie Czarów, Guliwer 1: Komorowska, L. (1996) W cieniu Kubusia Puchatka, Przekrój 41: 19. Kozak, J. (2000) Kot bez uśmiechu czy(li) uśmiech bez kota?, Przekładaniec 7: 25. Kulesza, D. (2000) Kubuś Puchatek, Gazeta Wyborcza: 120. Kydryński, J. (1970) Obrońmy Kubusia Puchatka, Dziennik Polski: 248. Kydryński, J. (1993) Mruczanka o Kubusiu, Dziennik Polski: 23. Lathey, G. (ed) (2006) The translation of children s literature. A reader, Clevedon, Buffalo, Toronto: Multilingual Matters. Lawendowski, B. (1987) Nowe przekłady klasyki, Nowe Książki 7-8: Legeżyńska, A. (1999) Tłumacz i jego kompetencje autorskie, Warszawa: PWN. Nikolajeva, M. (2006). What do we do when we translate children s literature? in S. L. Beckett and M. Nikolajeva (eds) Beyond Babar. The European tradition in children s literature, Lanham, Toronto, Oxford: The Children s Literature Association and the Scarecrow Press, N.O.W.I.C.K.I. (1970) W cieniu Ulissesa, Szpilki: 11. Orliński, W. (1998) Gatki i kocki Gazeta Wyborcza, 39: 2. Rajewska, E. (2004) Dwie wiktoriańskie chwile w Troi, trzy strategie translatorskie, Poznań: Poznańskie Studia Polonistyczne. Rakowiecki, J. (1987) Sztuczny mjut, Tygodnik Powszechny: 5. Różycki, M. (1987) Zdaniem, Tygodniowy Ilustrowany Magazyn 18:

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