Abstract:
In that work I present Stanislaw Lem’s life and works, especially from the Bulgarian
reader’s point of view. I’m taking a closer look especially at the characteristics of the
Bulgarian translations of Stanislaw Lem’s works, and show the problems, caused by an
abundance of artistic neologism in the „grotesque-ludic” group of works. To show the
possible method of classifying the interpreter’s strategies, I use the example of „The
Futurological Congress”, where the big number of them can be seen.
