https://journals.phil.muni.cz/opera-slavica Masarykova univerzita en-US Opera Slavica 1211-7676 https://journals.phil.muni.cz/opera-slavica/article/view/43325 Roman Madecki Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 5 6 10.5817/OS2025-1-1 https://journals.phil.muni.cz/opera-slavica/article/view/43326 Roman Madecki Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 7 8 10.5817/OS2025-1-2 https://journals.phil.muni.cz/opera-slavica/article/view/43327 Journal Opera Slavica Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 9 10 10.5817/OS2025-1-3 https://journals.phil.muni.cz/opera-slavica/article/view/43328 Journal Opera Slavica Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 11 13 10.5817/OS2025-1-4 https://journals.phil.muni.cz/opera-slavica/article/view/43329 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. Renata Putzlacher-Buchtová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 15 33 10.5817/OS2025-1-5 https://journals.phil.muni.cz/opera-slavica/article/view/43330 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. Monika Válková Maciejewska Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 35 48 10.5817/OS2025-1-6 https://journals.phil.muni.cz/opera-slavica/article/view/43331 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. Małgorzata Balcerzak Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 49 70 10.5817/OS2025-1-7 https://journals.phil.muni.cz/opera-slavica/article/view/43332 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. Tereza Poledníková Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 71 88 10.5817/OS2025-1-8 https://journals.phil.muni.cz/opera-slavica/article/view/43333 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. Neda-Marija Panajotova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 89 107 10.5817/OS2025-1-9 https://journals.phil.muni.cz/opera-slavica/article/view/43334 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. Marija Pileva Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 109 129 10.5817/OS2025-1-10 https://journals.phil.muni.cz/opera-slavica/article/view/43335 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. Lilija Želeva Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 131 138 10.5817/OS2025-1-11 https://journals.phil.muni.cz/opera-slavica/article/view/43336 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. Krištof Jacek Kozak Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 139 154 10.5817/OS2025-1-12 https://journals.phil.muni.cz/opera-slavica/article/view/43337 Monika Olędzka Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 155 157 10.5817/OS2025-1-13 https://journals.phil.muni.cz/opera-slavica/article/view/43338 Natália Kováčová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 157 158 10.5817/OS2025-1-14 https://journals.phil.muni.cz/opera-slavica/article/view/43339 Anna Agapova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 159 161 10.5817/OS2025-1-15 https://journals.phil.muni.cz/opera-slavica/article/view/43340 Michal Vašíček Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 162 163 10.5817/OS2025-1-16 https://journals.phil.muni.cz/opera-slavica/article/view/43341 Elena Krejčová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 164 166 10.5817/OS2025-1-17 https://journals.phil.muni.cz/opera-slavica/article/view/43342 Anna Agapova Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 167 172 10.5817/OS2025-1-18 https://journals.phil.muni.cz/opera-slavica/article/view/43343 Martin Henzelmann Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 172 177 10.5817/OS2025-1-19 https://journals.phil.muni.cz/opera-slavica/article/view/43344 Ján Gallo Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 177 184 10.5817/OS2025-1-20 https://journals.phil.muni.cz/opera-slavica/article/view/43345 Rudolf Chmel Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 184 186 10.5817/OS2025-1-21 https://journals.phil.muni.cz/opera-slavica/article/view/43346 Patrik Lekeš Copyright © 2026 Patrik Lekeš https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs 2026-02-28 2026-02-28 35 1 186 191 10.5817/OS2025-1-22