https://journals.phil.muni.cz/opera-slavica/issue/feed 2026-03-06T15:10:53+01:00 Opera Slavica os@phil.muni.cz Open Journal Systems https://journals.phil.muni.cz/opera-slavica/article/view/43325 2026-03-06T15:10:49+01:00 Roman Madecki email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43326 2026-03-06T15:10:49+01:00 Roman Madecki email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43327 2026-03-06T15:10:49+01:00 Journal Opera Slavica email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43328 2026-03-06T15:10:49+01:00 Journal Opera Slavica email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43329 2026-03-06T15:10:49+01:00 Renata Putzlacher-Buchtová email@journals.phil.muni.cz

In 2025, the Czech Republic was commemorating the 57th anniversary of the Soviet-led invasion of Czechoslovakia in 1968. When the Warsaw Pact armies occupied Czechoslovakia on August 21, 1968, to suppress the Prague Spring reform movement, the Czech protest singer Karel Kryl, who wrote his famous song "Keep the Gate Closed, Little Brother", released his first album of the same name. At that time, he became the spokesman for the occupied nation. For the majority of his time in exile, Kryl worked for Radio Free Europe and continued to fight against the communist regime. Even after 1989, he criticized political and social events in his homeland. Karel Kryl has performed in Poland several times, he spoke and sang in Polish, he was friends with Polish poets, incl. Jacek Kaczmarski and Antonina Krzysztoń. Original translations are included in the article.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43330 2026-03-06T15:10:50+01:00 Monika Válková Maciejewska email@journals.phil.muni.cz

The article addresses issues related to cognitive linguistics from the perspective of language teaching (foreign language teaching), with an emphasis on Polish language teaching. The author attempts to answer the question of whether cognitive semantics methods and the cognitive concept of grammar can influence foreign language teaching (and learning), and how they do so. By combining language teaching and its inductive approach to language teaching with cognitive fusion theory, she arrives at the process of translation, which is undoubtedly the result of all the above elements. She compares the various directions and approaches in teaching (i.e., the inductive method, multilingual didactics, the cognates concept) with specific implementations of example static verbs contained in idioms describing images. The author tries to emphasize that the skillful use of cognitive tools, even though it sometimes bears the hallmarks of scientific quackery, can help students remember the correct forms or phrases in a foreign language.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43331 2026-03-06T15:10:50+01:00 Małgorzata Balcerzak email@journals.phil.muni.cz

The article focuses on the relationship between film education and the teaching of Polish as a foreign language in the context of intercultural communication. Using the example of the cult Polish film Sami swoi (Our Folks, 1967), the author discusses the problems and challenges involved in the reception of a work deeply rooted in Polish history and culture. The article examines how the film is perceived and interpreted by groups of students learning Polish outside of Poland, who analyse Sylwester Chęciński's production through the lens of their own cultural backgrounds. A key aspect of this reception involves the difficulty in recognizing the film's more subtle elements — such as its connection to Sarmatian culture or the linguistic stylization employed by the filmmakers.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43332 2026-03-06T15:10:51+01:00 Tereza Poledníková email@journals.phil.muni.cz

The presented article deals with selected morphological aspects that affect the translation of cybertext strings containing variables from English to Czech and Russian. Variables, as dynamically inserting parts of a text, present a specific challenge when localizing software products, which include videogames as well. Given the different morphology of Slavic languages such as Czech and Russian, contrary to English, it is necessary to adjust the syntactic construction in a way that ensures it being grammatically correct and functional. The article analyses various strategies and procedures that videogame translators use to solve these challenges, including transformation of adjectives, the use of generic words and punctuation marks. Furthermore, the article focuses on technical solutions which allow the reflection of linguistic needs of target languages, it also examines how variables are being processed by artificial intelligence. The results show that despite the technological progress the human factor remains key for ensuring high quality translation.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43333 2026-03-06T15:10:51+01:00 Neda-Marija Panajotova email@journals.phil.muni.cz

The article examines the challenges of translating film titles. As a special type of onyms, film titles have their own structure and rules to which they are subject. By translating titles, the translator also translates part of the culture and aesthetic ideas, so the differences between the audiences of one or another film are important when choosing an appropriate translation of a title. The choice of translation strategy is determined both by the specificity of the source text and by the need for pragmatic adaptation of the text, therefore sociocultural influences force the translator to adapt and omit those elements that will not be understood or accepted in the receiving culture. The article examines the translation of titles of three English-language TV series into Bulgarian, in which the film titles contain cultural references, idioms, catchphrases, references to books and music or slang, which may not have a direct translation or equivalent in another language.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43334 2026-03-06T15:10:52+01:00 Marija Pileva email@journals.phil.muni.cz

The paper examines the translation of the book "Meet Bulgaria" (1931) by the American missionary R. H. Markham into Bulgarian (2024), paying special attention to the parts dedicated to folk art and literature. It problematizes the refusal to translate the folk songs and some of the proverbs back into Bulgarian, some of which were omitted in the Bulgarian edition and others were left in English. It also focuses on Markham's choice of which Bulgarian literary authors and what part of their works to present to the English-speaking reader.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43335 2026-03-06T15:10:52+01:00 Lilija Želeva email@journals.phil.muni.cz

In 2024, the discipline "Conference Interpretation from/to Slavic Languages" at the Faculty of Slavic Studies of Sofia University "St. Kliment Ohridski" celebrated its tenth anniversary. Over these 10 years, more than 150 Bulgarian and foreign students studied the main types of interpreting, film translation and subtitling. The proposed study aims to summarise the most common difficulties in teaching and learning conference interpretation, as well as to propose strategies for dealing with them. For the purpose of the study, a survey was conducted with current and former students who enrolled in the course of Conference Interpretation from/to Slavic Languages at Sofia University.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43336 2026-03-06T15:10:52+01:00 Krištof Jacek Kozak email@journals.phil.muni.cz

Especially in Expressionist drama, the motif of the sea/ocean with its idiosyncratic qualities stimulated a lot of interest in dealing with themes close to this artistic movement, such as mystery and sublimity as transcendental dimensions of existence, limitlessness as a metaphor for the human journey to the "stars" from one or finding a new man from the other side. Although for European drama (R. Goering, R. Sorge, S. Wyspiański) the mentioned qualities proved to be much more relevant than, for example, for American drama (E. O'Neill), obvious differences were also evident in the former, since in the German drama, the sea/ocean is much less emphasized, pronounced and independent than, for example, among the southern Slavs (M. Krleža, M. Jarc). Among the latter, the motif of the sea/ocean took on almost independent properties and became a key metaphor for dealing with limitlessness and (metaphysical) breadth of human existence. It is this path that opens up space for the human being to "hunt" for his/her ideals (stars), and on his journey s/he faces all traditional, especially transcendent, opposites.

2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43337 2026-03-06T15:10:53+01:00 Monika Olędzka email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43338 2026-03-06T15:10:53+01:00 Natália Kováčová email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43339 2026-03-06T15:10:53+01:00 Anna Agapova email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43340 2026-03-06T15:10:53+01:00 Michal Vašíček email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43341 2026-03-06T15:10:53+01:00 Elena Krejčová email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43342 2026-03-06T15:10:53+01:00 Anna Agapova email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43343 2026-03-06T15:10:53+01:00 Martin Henzelmann email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43344 2026-03-06T15:10:53+01:00 Ján Gallo email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43345 2026-03-06T15:10:53+01:00 Rudolf Chmel email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © https://journals.phil.muni.cz/opera-slavica/article/view/43346 2026-03-06T15:10:53+01:00 Patrik Lekeš email@journals.phil.muni.cz 2026-02-28T00:00:00+01:00 Copyright © 2026 Patrik Lekeš